14 10 1402 https://openvalley.org/files/original/d0c810e01430b19ae391b025977ab4c6.gif 782765bfd881689a86135eec6ad1e3e8 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 Marble GIF https://openvalley.org/files/original/ffa9d6185506e8cd178dc97a8e40b71f.jpg 7917f74bd37c6a6a3e1f54aabe43e650 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 B & W halftone of drawing Physical Dimensions The actual physical size of the original image 6 x 4 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 Boat Creator An entity primarily responsible for making the resource LaMarre, Charles Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1985 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 741 KB Description An account of the resource This is a halftone image created from an original pen-and-ink drawing no longer available. It was drawn by a Haitian immigrant farmworker living at the Hoehandle labor camp in Castile, NY. His work was featured in the 1986 gallery show African Past: Migrant Present and this reproduction appeared in <a href="https://openvalley.org/items/show/1975" target="_blank" rel="noopener">the printed program</a>. LaMarre's drawing has literal and symbolic dimensions that are intertwined. The drawing's date of 1985 commemorates a crossing to America, along with other "boat people" fleeing the violent Duvalier regime in Haiti. It also probably references the vèvè (ritual symbol) of the Vodou spirit Agwé--ruler of the seas and their life, to whom sailors and fishers would appeal for guidance and safety. For the artist, that hadn't been an abstract concern. Type The nature or genre of the resource Still image African Past, Migrant Present Creative Artists Migrant Program Services Geneseo Migrant Center migrant art https://openvalley.org/files/original/b9b4b7560db3730f6ea351d98bf4c9f8.jpg c3371477e1e5428158d67d880b789b3a 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 Photograph of watercolor painting 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 Boat House, Sutton Place Format The file format, physical medium, or dimensions of the resource jpeg, 259 KB Description An account of the resource At the time of this painting Sutton Place, on the East River near the Queensboro Bridge, had the reputation of extreme inequality: the wealthy enjoying river views, the poor living in squalid conditions. This "boat house" has the appearance of someone's residence. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition “Useful Objects of American Design Under Ten Dollars” (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at OpenValley. 4 more images at FAP. Sources Consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 8, Folder 12.</a> Type The nature or genre of the resource Still image East River, NY Federal Art Project New Deal Gallery New York, NY Richard T. Gaige Watercolor https://openvalley.org/files/original/dcba44438005988935b7366986056378.jpg 77aa719db43bd8237b917402881b157b https://openvalley.org/files/original/f8aabde3af6dbd26bc903e254f250a99.jpg de1b3e8b8ad66c4520d003bd7cd3e761 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 Print etching Physical Dimensions The actual physical size of the original image 9 x 11-3/4 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 Boat Musicians Creator An entity primarily responsible for making the resource Sherman, Effim H. 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 c. 1935 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1508 Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.4 MB Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/people/2354/effim-h-sherman/objects" target="_blank" rel="noopener">GSA</a>. Effirm H. Sherman Federal Art Project lithograph Music New Deal Museum https://openvalley.org/files/original/2de85be6b508164a6fbb02b579f24a1c.jpg c19986691e3e2cf9cc90568f625374e4 https://openvalley.org/files/original/37e800c60cf42f4d2867be970e367906.JPG 653ce86ace3ab6739cc85a07c050b3f3 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 23 x 19 in. Condition: surface dirt, torn, chipped and peeling paint 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 Boats Description An account of the resource Multiple small craft boats of different shapes, sizes and colors are moored alongside a wooden dock. The water is calm enough to see a green look-out tower, the blue sky, and white clouds in its reflection. The water level, however, appears to be low. Buildings, trees, and a small town occupy the background of this piece, including a large brick church at the top of the hill. Predominantly earth-toned, including various shades of greens, browns, and reds. Two American flags and two crosses prominently stand out, suggesting patriotism and religion. About the Artist: Born in Budapest, Hungary, Candell described <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-victor-candell-12351#transcript" target="_blank" rel="noopener">in an interview</a> how, as a boy, he was attracted to movie posters; by age 15 he already was a professional graphic artist, branching out to illustrations and caricatures in theater journals. Candell immigrated to America in the aftermath of World War I and the rise of fascism—although he returned to Paris during 1928-30 so as to educate himself via paintings (he called Cezanne and Degas “my teachers”). At that point Candell thought of himself as a cubist, the transiton from illustrator to painter influenced by Cezanne’s “direct contact with nature, still-life, figure, and all the rest of it, not on the academic level but on the level of just being confronted not so much with the idea or concepts of space or style but concrete reality and learn from it. This was my understanding that the great men had this as a kind of ante chamber to their main work” (“Oral History”). Candell immersed himself in self-guided study for 15 years, finally offering his first show at age 43. He was involved with the Whitney Studio project during the early 1930s and joined the Federal Art Project near its inception. In 1939, he contributed the political cartoon <a href="http://ufdc.ufl.edu/WOLF004747/00001/6j" target="_blank" rel="noopener">“That’s My Meat!”</a> to a pamphlet entitled 12 Cartoons Defending the WPA by Members of the American Artists Congress. His work was shown at the Whitney Museum of American Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Corcoran Gallery in Washington, D.C., and the Carnegie Institute. A respected teacher, Candell began this phase of his life teaching art to traumatized veterans at the Brooklyn Navy Hospital; in 1958, he and Leo Manso started the Provincetown Workshop—an art school modeled after the Cooper Union. Candell received numerous awards for his art work, including prizes from the Museum of Modern Art and the Unites States Treasury Department, the Emily Lowe Award, the Lamont Prize, and the Audubon and Silvermine Awards. 1 work at the <a href="http://collection.whitney.org/object/1551" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://www.metmuseum.org/art/collection/search/488885?searchField=All&amp;sortBy=relevance&amp;ft=candell&amp;offset=0&amp;rpp=20&amp;pos=1" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="https://www.paam.org/collection/candell-1431-pa97/" target="_blank" rel="noopener">Provincetown Art Association and Museum</a>. 60 images at <a href="http://www.nutshellarts.com/victor_candell.htm" target="_blank" rel="noopener">Nutshell Arts Center</a>. His papers are at <a href="https://library.syr.edu/digital/guides/c/candell_v.htm" target="_blank" rel="noopener">Syracuse Univesity</a>. Creator An entity primarily responsible for making the resource Candell, Victor, 1903-1977 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 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Caldwell, Julia (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Art Object #FA18128 Format The file format, physical medium, or dimensions of the resource jpeg, 838 KB jpeg, 9.7 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 038 Federal Art Project New Deal Gallery painting Victor Candell https://openvalley.org/files/original/47005f23c703fdbf4fc1578a9013e54d.jpg e6975a2ea345c771e220f13a70f5492d 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 Newspaper advertisement 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 Book-keeping Rationalized Description An account of the resource George N. Comer was founder, in 1840, of a Boston "Commercial College" bearing his name. The subjects it taught were eclectic: penmanship, bookkeeping, commercial correspondence and computations, navigation, engineering, and surveying. The advertisement here is for <a href="https://babel.hathitrust.org/cgi/pt?id=uc1.$b280607&view=1up&seq=1" target="_blank" rel="noopener">Book-Keeping</a><a href="https://babel.hathitrust.org/cgi/pt?id=uc1.$b280607&view=1up&seq=1" target="_blank" rel="noopener"> Rationalized</a>, a volume that teaches a simplified double-entry bookkeeping intended for broad accessibility. Farmers did indeed keep accounts; it's unclear whether Comer's advertisement was effective. Date A point or period of time associated with an event in the lifecycle of the resource 1861-11 Contributor An entity responsible for making contributions to the resource Lattuca, Kaila Source A related resource from which the described resource is derived Comer, George. "Book-keeping Rationalized," The Genesee Farmer 22.11. (November 1861): 358. <a href="https://archive.org/details/sim_genesee-farmer_1861-11_22_11/page/858/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 230 KB Type The nature or genre of the resource Still Image Creator An entity primarily responsible for making the resource Comer, George N. Publisher An entity responsible for making the resource available The Genesee Farmer accounting book-keeping farming laborers rates https://openvalley.org/files/original/e2bc6474e65d2802ccf07536c7a9e13f.jpg e576a7c46dd34069f5b635d4354934c2 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Photograph Physical Dimensions The actual physical size of the original image 10 x 8 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 Borden Avenue Bridge Description An account of the resource Rice Collection annotation reads: "Completion of the Borden Avenue bridge and opening up the new section of Perry. Notable are the signs for the Perry Herald and News and the public bathrooms, 1895." Publisher An entity responsible for making the resource available Clark Rice Photography Collection Date A point or period of time associated with an event in the lifecycle of the resource 1895? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Perry, NY Public Library Format The file format, physical medium, or dimensions of the resource jpeg, 944 KB Identifier An unambiguous reference to the resource within a given context 1204 Type The nature or genre of the resource Still image borden avenue Bridge Clark Rice Photography Collection Perry, NY https://openvalley.org/files/original/80357356734f5fee20b79ed3cb0c76e0.jpg 8703776a0e1f763e19f20c9ac7947355 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 photograph Physical Dimensions The actual physical size of the original image 4320x3240 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/. Creator An entity primarily responsible for making the resource Efraimstochter Title A name given to the resource Bottle in Water Publisher An entity responsible for making the resource available Pixabay Description An account of the resource Orange soda pastic bottle floating in a body of water. Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-31 Source A related resource from which the described resource is derived https://pixabay.com/photos/pollution-garbage-thrown-away-waste-359017/ https://openvalley.org/files/original/c1ccb49d016759ccd82ad2e41f30bb1a.jpg da2c4029cae465e78025c0851d2b76ab 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 16 x 20 in. Condition: surface dirt, cracked paint 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 Bouquet With Lilies Format The file format, physical medium, or dimensions of the resource jpeg, 800 KB Description An account of the resource Six spotted lilies are surrounded by snapdragons, zinnias, and an incongruous “Radio” calendula. This latter flower, along with the lily stamens, appear to have been chosen for their delicate pointed shapes. Most of Alger’s still live is painted in cool grays and pinks, with splashes of hot yellows and orange. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John [Herbert], 1879-1967 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 #FA18105 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 015 Federal Art Project John Alger New Deal Gallery painting still life https://openvalley.org/files/original/d80e0e9175825396769c65ebceacd8b3.jpg ccb645794f1b7be7095bc63388b69355 https://openvalley.org/files/original/00ff084920119be3fe7bb75f4cedb636.jpg 71cb88c2a2ad04fe3c8a08d5d0d75ac8 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 Photograph Physical Dimensions The actual physical size of the original image 5 x 7 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 Bow Bridge, Central Park Description An account of the resource Photograph of iconic cast iron bridge in New York's Central Park was one of six created for an historical survey in 1984. The description reads: "Designed by Calvert Vaux, the Bow Bridge is one of the most prominently located and visible cast iron bridges in Central Park. It is 87 feet, four inches long. This and other cast iron bridges in Central Park are among the very first built of that material in America. The J.B. and W.W. Cornell Foundry was the contractor. Restored in 1974 with funds provided by Lila A. Wallace and Lucy G. Moses, this graceful arch has been described by New York Times architecture critic Paul Goldberger as seeming 'to pour over the water.'" It is included in OpenValley because this view looking east is very similar to New Deal Gallery artist Inez Abernathy's <a href="https://openvalley.org/items/show/1108" target="_blank" rel="noopener">"The Lake, Central Park"</a> with the Hotel Carlyle visible in the distance. This item consists of a slightly cropped version and the original proportions. Creator An entity primarily responsible for making the resource Lowe, Jet (photographer) Chamberlain, Holly K. (historian) Publisher An entity responsible for making the resource available Historic American Engineering Record Date A point or period of time associated with an event in the lifecycle of the resource 1984 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="Library%20of Congress, <www.loc.gov/item/ny1587/>" target="_blank" rel="noopener">Library of Congress, <www.loc.gov/item/ny1587/></a> Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 2.7 MB Type The nature or genre of the resource Still image Bow Bridge, Central Park Central Park Hotel Carlyle Inez Abernathy new york city Photo