13 10 1402 https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg 4ea0ec4ca3b46f76a744db2e7172259d https://openvalley.org/files/original/fbbece1556e644df848c6ec6d2f34697.jpeg e8b9e9a2f2bf65d4d4064eb8d83156ab https://openvalley.org/files/original/e1c2ebc962edd21badb7045987ef5719.jpeg 9130b88507ac93ff0ed0cb06990f041f https://openvalley.org/files/original/c3762d01d48623b8e0b2a63f2f19f6a0.jpg a6cbfd4f0b81268550eff6904e5b44f4 https://openvalley.org/files/original/56d02acff88f5a69de36704c1a8990d8.jpg be0e3b2ee1494e146daffd8ff91aa13c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Paper map Physical Dimensions The actual physical size of the original image 13 x 25 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bird's-Eye View of Caledonia, NY, 1892 Description An account of the resource Aerial panorama of Caledonia, NY was published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. Burleigh's usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and make small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists 48 points including railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. This item includes a small and large image file of Burleigh's map, and an enlargement of Seth Green's fish hatchery north of Caledonia. Creator An entity primarily responsible for making the resource Burleigh Litho. Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 22.2 MB jpeg, 471 KB Burleigh Litho Co Caledonia, NY Lucien R. Burleigh Map Seth Green https://openvalley.org/files/original/42ab51945ea6b9e82354ee7bb8ac32f9.jpg 15813f6f1768d8ccbc3220b255d97a85 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map, lithographic Physical Dimensions The actual physical size of the original image 13.88 x 29.53 in. (35 x 75 cm.), on sheet 22 .44 x 34.25 in. (57 x 87 cm.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bird's-eye view of Mt. Morris, N.Y. Description An account of the resource Drawing of an aerial view of the village of Mt. Morris, N.Y., looking generally westward. The streets in the lithograph are labeled, and points of interest (buildings, businesses, etc.) are indexed. Creator An entity primarily responsible for making the resource Burleigh Litho. Co. Publisher An entity responsible for making the resource available Troy, N.Y.: Burleigh Litho. Co. Date A point or period of time associated with an event in the lifecycle of the resource 1893 Contributor An entity responsible for making contributions to the resource Argentieri, Liz Source A related resource from which the described resource is derived Library of Congress, Geography and Map Division, Washington, D.C. (American Memory Historical Collections, https://www.loc.gov/item/85693020/) Format The file format, physical medium, or dimensions of the resource jpeg, 759 KB Type The nature or genre of the resource Still image Aerial image maps Mount Morris, NY https://openvalley.org/files/original/da4fc526928b00f1927754ca7c59cf04.jpg 9fad88b611922c5396611c1d46a49dab Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 22 x 26 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bird's-eye view of Titusville, PA Description An account of the resource Looking northwest, major streets and features of a town whose growth was driven by America's first oil boom during the 1860s. Oil Creek is in the foreground, and the Oil Creek Rail Road is shown running south toward the oil region--although by this date the boom was over for Titusville Creator An entity primarily responsible for making the resource Ruger, A. Publisher An entity responsible for making the resource available Chicago Lithographing Company Date A point or period of time associated with an event in the lifecycle of the resource 1871 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress: http://hdl.loc.gov/loc.gmd/g3824t.pm008600 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Map oil Oil Creek, PA Sheffield Peabody Titusville, PA https://openvalley.org/files/original/48b4fe4291dcb74fe33383c6ead0de41.jpg abd835a34ebd876614616c0f1d6ac834 https://openvalley.org/files/original/fb086dd7dfe5ff6a04bdf9d586719f25.jpg fd16fe1d8f3973e54fe5d895faf22de0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Birdseye View of Springwater, NY Date A point or period of time associated with an event in the lifecycle of the resource 1918-05-27 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 591 KB jpeg, 594 KB Type The nature or genre of the resource Postcard Description An account of the resource From a hillside looking approximately southwest, view shows part of the watershed supplying Hemlock Lake and ultimately the city of Rochester, NY. At the time of this photograph the town's population would have been around 1,700 people, still primarily involved in agriculture. Springwater was established in 1816 and encompasses the highest point in Livingston County. During its early history stands of forest were logged before giving way to farming. bird's eye view Post Card Springwater, NY Watershed https://openvalley.org/files/original/df41971a5eb80490a3bdb7573df3b5ab.jpg 0791c410c4ddd50e5471f85bdc9c910a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas mounted on board Physical Dimensions The actual physical size of the original image 61.6 x 92.1 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Mesa Landscape, New Mexico / Out Back of Marie's II Creator An entity primarily responsible for making the resource O'Keeffe, Georgia Date A point or period of time associated with an event in the lifecycle of the resource 1930 Source A related resource from which the described resource is derived <a href="https://flic.kr/p/Nast2P" target="_blank" rel="noopener">Photograph by Trevor Huxham via Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 451 KB Publisher An entity responsible for making the resource available Terra Foundation for American Art Description An account of the resource Beginning in the late 1920s, O'Keeffe began spending much of her time in the American southwest, painting its sensuous landscapes. This image is in OpenValley for the purposes of comparison to Philip Cheney's <a href="https://openvalley.org/items/show/1098" target="_blank" rel="noopener">Rocky Mountain Highway</a>, likewise sculptural but networked with paved roads. https://openvalley.org/files/original/ae3864b8afbcf1b394418c73cf75fd6f.jpg fb7eff52c3173044cc811d8bbc1c071a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black River Falls, Watertown NY Format The file format, physical medium, or dimensions of the resource jpeg, 828 KB Publisher An entity responsible for making the resource available L. H. Everts & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1878 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Durant, Samuel W., and Henry B. Peirce, History of Jefferson County, New York : With Illustrations and Biographical Sketches of Some of its Prominent Men and Pioneers (L. H. Everts, 1878): frontispiece. <a href="https://archive.org/details/historyofjeffers00dura_0/page/n8">Web version available at Internet Archive.</a> Description An account of the resource During the 19th century it was estimated that the Black River generated some 135,000 horsepower along its course during the dry season. Just within the city limits of Watertown, NY the river dropped 110 feet, meaning that manufacturing concerns generally drove planning decisions. The suspension bridge pictured here, overlooking the picturesque Black River Falls, probably was intended for functional purposes . Black River Engraving Waterfalls Watersheds Watertown, NY https://openvalley.org/files/original/f81dc60af0c5cd0b191cbb895b9c6f23.mp3 36442b26c8ed9d2e1e37e85572b2e295 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blowin' Down This Road https://openvalley.org/files/original/9256fe546c8d323e4a61ce531aab41b0.jpg ef128dd820872e98b714797a697617a3 https://openvalley.org/files/original/fe81396e07db686b22f99073e2459b6b.JPG d2b92e0f26326b22a16360ac65fe39ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 19.75 x 15.5 in. Condition: paint chipped, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blue and Gold Description An account of the resource The depiction of the foreground illustrates a rural setting in the midst of an urbanizing town in the background – a changing sociocultural climate in New York. Abernathy uses a quick, painterly style to show that the brushstrokes are an instrumental part of the canvas, something purposeful given the context of her formal training. She exercises her education in the way she portrays the depth of the painting – the contrast between the two portrayals of different lifestyles emphasizes a changing direction among a rural discourse of life. About the Artist: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a><o:p></o:p> Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-09 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (Photography) Griffin, Michael (Biography) Ken Cooper (Biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object # FA18092 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 11.4 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 002 Abernathy, Inez Landscape Art New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/d2b6aaf98c5a70ac05cbd314d877f1c0.jpg 0bb760b30e84a84967144b94cf3eb2dc https://openvalley.org/files/original/11993ca57faa41c1b072cb3ac4e9512d.jpg 919f78b660f792312848cf47fbd706c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Aquatint and color etching Physical Dimensions The actual physical size of the original image Image: 11 7/8 x 14 7/8 in. Sheet: 14 1/8 x 17 7/16 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blue Clown Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.2 MB Description An account of the resource In Blue Clown, Peck presents a hauntingly stylized figure portrayed almost entirely in deep blue-teal tones, creating a dreamlike yet unsettling atmosphere. Its blue tonal effects are created through the aquatint process, a technique that uses “acid to eat into the printing plate creating sunken areas which hold the ink” (Tate). The clown’s face dominates Peck’s composition, built from geometric contours that curve around exaggerated features: wide circular eyes, a bulbous nose, and sharply angled eyebrow arches and party hat that cut across the upper portion of the image like a dark blade. Fine etched lines and layered textures give the surface a grainy, atmospheric depth while speckled highlights scattered across the background evoke a starry, suspended void. The palette’s limited range intensifies the emotional focus, turning the clown from a symbol of entertainment into a solitary and introspective figure. Within the context of its time, the lithograph can be read as reflecting the psychological isolation felt by many artists during the Great Depression: creative individuals supported by federal programs yet still grappling with uncertainty and alienation. Peck’s distorted proportions and shadowed tonalities subtly transform the clown into a metaphor for the artist himself: a performer expected to produce cultural vitality while privately confronting the quiet anxieties of life in Depression-era America. About the Artist Augustus Hamilton Peck, affectionately known as “Gus” to those who worked with him, was born in 1906 in Frederick, Maryland, but spent most of his life growing up in and working in New York City (NYC). He was a painter, an etcher, a cartoonist, an illustrator, and an educator. Most notably, he was a well-known artist working for the Works Progress Administration (WPA) Federal Art Project, during which he was known to create works focusing on the figure of the clown. In the late 1930s, WPA Federal Art Program exhibits began popping up across the country to show works of these artists, often encapsulating the theme of Contemporary New York where Mr. Peck’s pieces were featured. Beyond his time working for the WPA, Peck taught art classes to students from working class families in NYC, and later was an illustrator for Fawcett Publications in Connecticut. His passion for the arts was evident when, in 1940, he <a href="https://archive.org/details/sim_newsweek-us_1941-10-20_18_16/page/69/mode/1up?q=%22augustus+peck%22#:~:text=York.%20%241.50.)-,Genius%20in%20the%20Bud,-Nearly%20all%20children">selected 75 students from Manhattan’s public and private schools</a> to instruct for free during Saturday art classes, in a studio that he borrowed. His friends helped raise $4,000 to fund the project for the students, which was, as Peck called it, “a chance to express their better instincts instead” [of learning how to hate]. Considering himself more of an “editor” than an instructor, Peck helped curate the students’ artwork, who ranged from <a href="https://books.google.com/books?id=q0wEAAAAMBAJ&pg=PA78&dq=%22augustus+peck%22&hl=en&sa=X&ved=2ahUKEwjRuv-L3tGTAxWJKzQIHUbDJu8Q6AF6BAgJEAM#v=onepage&q=%22augustus%20peck%22&f=false">10 to 15 years old and represented 24 nations</a>, to be exhibited on the walls of the Whitney Museum of American Art in New York. Many of Peck’s own works are now found in museums across the country. One of his best-known prints, from 1938, is <a href="https://www.philamuseum.org/objects/74736">Blue Clown</a>; one amongst dozens of artworks that portray recurring subjects of the clown, human figures, and the circus: <a href="https://www.brooklynmuseum.org/objects/48397">Head of a Clown (Clown with Red Nose)</a> 1938; <a href="https://www.brooklynmuseum.org/objects/48395">Clown as a Fireman</a> 1937; <a href="https://www.clevelandart.org/art/1934.73">Circus Boy</a> 1920-34; and <a href="https://www.clevelandart.org/art/1930.164">Circus, No. 1</a> 1920-30. 20 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Augustus+Peck">Brooklyn Museum</a>. 14 works at <a href="https://www.clevelandart.org/art/collection/search?artists=Augustus%20Peck">Cleveland Museum of Art</a>. 7 works at <a href="https://www.philamuseum.org/collection?artist=Augustus%20Peck">Philadelphia Museum of Art</a>. 13 images at <a href="https://art.gsa.gov/people/2171/augustus-hamilton-peck/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Peck, Augustus (1906 - 1975) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1942 Contributor An entity responsible for making contributions to the resource Wyatt-Saylor, Savannah (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 25607 Type The nature or genre of the resource Still image Aquatint Augustus Peck Clown Federal Art Project New Deal Museum https://openvalley.org/files/original/f24817d1df3a269a214bf02e1a3f2bc5.jpg 6d6776b6aeb03167ad63b17e6a5a889e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blue Jay Description An account of the resource An alert jay sits upon a tree branch in the foreground, with billow of leaves or some other foliage in the midground. In the distance, we see the turret of a large building. Nakamizo’s decision to render this scene as an engraving turns it into a study of patterns, both upon the bird and in its habitat. At lower left is text indicating it was created for the Federal Art Project. About the Artist: Born in Fukuiken, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nakamizo, Fuji, 1889-1950 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18221 Format The file format, physical medium, or dimensions of the resource jpeg, 486 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 128 Engraving Federal Art Project Fuji Nakamizo New Deal Gallery