15 10 1402 https://openvalley.org/files/original/2d8a07273e99b377fee1a5dbdad92fb1.jpg 796a9d67be37e9b1990816b33a4a1b12 https://openvalley.org/files/original/37e47a9bb6a1a4d0d4b8531cd8bd2fc3.jpg faae6083239e417aa689a9a948cb1ed0 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 Stereoview Physical Dimensions The actual physical size of the original image 7 x 3.5 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 Bow Bridge, Central Park Format The file format, physical medium, or dimensions of the resource jpeg, 432 KB jpeg, 735 KB Contributor An entity responsible for making contributions to the resource Cooper, Ken Description An account of the resource Designed by Calvert Vaux and Jacob Wrey Mould, and completed in 1862, this 87-foot span was the second cast-iron bridge constructed in the US. Its likeness to the bow of a violinist or archer gave the structure its name. Stereoview taken probably not long after its construction shows recent tree plantings. Creator An entity primarily responsible for making the resource Chase, W[illiam] M[oody], 1817-1901 Date A point or period of time associated with an event in the lifecycle of the resource 1870-1890 Source A related resource from which the described resource is derived The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Bow Bridge." The New York Public Library Digital Collections. 1850 - 1930. <a href="https://digitalcollections.nypl.org/items/510d47e1-ee44-a3d9-e040-e00a18064a99" target="_blank" rel="noopener">http://digitalcollections.nypl.org/items/510d47e1-ee44-a3d9-e040-e00a18064a99</a> Type The nature or genre of the resource Still image Bow Bridge, Central Park Bridge Central Park New York Stereoview https://openvalley.org/files/original/1ea55e7feaaa8abee4d15a1fd776b9b1.jpg 05cabdf0363c8c697559f34be8e3bca4 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 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 Breaking Sod Description An account of the resource "<a href="https://www.hppr.org/post/start-another-great-plow-great-plains" target="_blank" rel="noopener">Breaking ground with a Reeves steam tractor pulling a 12 row sod-busting plow in Haskell County, KS the very early 1900’s.</a>" Creator An entity primarily responsible for making the resource Center for Great Plains Study Publisher An entity responsible for making the resource available F.M. Steele Date A point or period of time associated with an event in the lifecycle of the resource 1900-1930 Format The file format, physical medium, or dimensions of the resource jpg, 72.6 KB https://openvalley.org/files/original/f9c63a99104d2a04091cb93a1a05f188.jpg 4adba8095b81790cd75b13272da8d9fd 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 Digital Photograph 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 Breakneck Ridge Tunnel Creator An entity primarily responsible for making the resource Skeats, William J. Publisher An entity responsible for making the resource available RailPictures.Net Date A point or period of time associated with an event in the lifecycle of the resource 2019-06-03 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.railpictures.net/photo/699417/" target="_blank" rel="noopener">Photo/Archive William J. Skeats. Used by permission.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 640 KB Description An account of the resource Breakneck Ridge is located in the Hudson Highlands, directly across the river from Storm King Mountain. Its distinctive stony face was picturesque, albeit quarried for granite by the 19th century. It posed a major obstacle in plans to build a railroad line along the Hudson River. By 1851, however, a 400-foot tunnel had been bored by the Hudson River Railroad (later to become part of New York Central). Here, in a contemporary photo, we see the line still in use as part of Metro North / Amtrak service. The stone structure at right is part of the Catskill Aqueduct, constructed between 1908 and 1924. Technically, it is called the Moodna / Hudson / Breakneck Pressure Tunnel: a tunnel bored 1,100 feet below the river's surface through which water passes from Ashokan Reservoir to New York City. The building was constructed in 1917 to drain the pressure tunnel. Breakneck Ridge probably is the location of New Deal Gallery artist <a href="https://openvalley.org/items/show/1247" target="_blank" rel="noopener">Isaac Fastovsky's 1937 painting Tunnel by the Hudson.</a> Type The nature or genre of the resource Still image Catskill Aqueduct Hudson River Hudson River Railroad New York Central Railroad Railroads tunnel https://openvalley.org/files/original/e1bfd700173cd0d8e421545d2d912b53.jpg f678876fed9b7e10a22362d8d5a6c2a3 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 Book engraving Physical Dimensions The actual physical size of the original image 5 x 9 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 Bridge at Oil City, PA Description An account of the resource At the mouth of Oil Creeks, spectators watch rafts that have made it downstream after a so-called "pond fresh." The creek was too shallow for navigation much of the year, so dams held water then released it all at once--a chaotic process that often resulted in capsized rafts, and perhaps 20,000 barrels of oil transported to the Oil City port. Publisher An entity responsible for making the resource available Gillelen, F. M. L. Date A point or period of time associated with an event in the lifecycle of the resource 1864 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived F.M.L. Gillelen, "The Oil Regions of Pennsylvania: With Maps and Charts of Oil Creek, Allegheny River, Etc." (Pittsburgh, PA: Hunt, 1864) Library of Congress / Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB oil Oil Creek, PA Sheffield Peabody https://openvalley.org/files/original/441029b4cbf7d48b84b7dd0b912d6d68.jpg c83bde0d2e3480b3da9498a4af9de271 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 Digital photograph 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 Bridge Detail Description An account of the resource A close-up of a stone bridge built by the Civilian Conservation Corps crossing the Silver Lake Outlet, Letchworth State Park Creator An entity primarily responsible for making the resource Cooper, Ken Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource VanOstrand, Griffin Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB Type The nature or genre of the resource Still image Civilian Conservation Corps Letchworth State Park Silver Lake Outlet Stone Bridge https://openvalley.org/files/original/325c9ed9760e8f2a6bbcd5cd004ddb1b.jpg c9ab0b76cfafe13a686a201fd8390b0c https://openvalley.org/files/original/4334b64b8afc7f06eeac6f567b63db95.jpg e9bea7a9febbba1e86ea476c3823de4c 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 Lithograph Physical Dimensions The actual physical size of the original image 11-1/4 x 15-3/4 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 Bridge Worker No. 1 Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Murphy, Arthur G. (1906 - 1991) 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 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Helquist, Morgan (photographer) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Item #FA 1349 Type The nature or genre of the resource Still image Description An account of the resource This lithograph is one of several prints in Murphy’s “Bridge Worker” series in 1935, which was followed by a “Steel Riggers” series in 1936. The subject matter of both is construction of the Golden Gate Bridge whose active phase began in 1933 and was completed in 1938—one of the New Deal’s most famous infrastructure projects (see a collection of historical photos <a href="https://calisphere.org/collections/8624/" target="_blank" rel="noopener">here</a>). Virtually all of Murphy’s prints link the physical strength of men to their collective, nearly heroic, accomplishments; in this, the artist was like many others in mythicizing modern industry. Murphy’s lithograph, however, also explores an uncanny valley: the worker’s back muscles and legs are massive, so much so that his clothes barely can contain them. Wisps of torn fabric are mirrored by strands of hair, giving the worker a pre-human quality (or later in the later 20th century, suggesting the Marvel Comics character <a href="https://en.wikipedia.org/wiki/The_Incredible_Hulk_(comic_book)#/media/File:Talestoastonish60.jpg" target="_blank" rel="noopener">The Incredible Hulk</a>). Was industrial society so harshly divided into scientific brains and laboring brawn? Besides a strand of steel cable, there is little social context to the individual figure here: no co-workers or suggestions of specialized knowledge. To some extent, Murphy’s <a href="https://www.nga.gov/artworks/149156-steel-riggers-no-5-bay-bridge" target="_blank" rel="noopener">“Steel Rigger”</a> series remediates that lack, although again their bodies are somewhat fetishized. About the Artist  Arthur Murphy was born in Tiffin, OH, later crediting aimless walks through its woodlands for teaching him how to see as an artist (Robinson). After graduation he moved to Cleveland and began work in the art department of the Central Press Association, meanwhile taking classes at the Cleveland School of Art. In 1927 Murphy relocated to New York, continuing his studies at the Art Students League with <a href="https://en.wikipedia.org/wiki/Boardman_Robinson">Boardman Robinson</a>. In 1930 Murphy took “one hell of a gamble” and left his illustrator job at the Associated Press—this during the Great Depression—to become a painter (Burkholder). He traveled West with virtually no money, riding trains with other hoboes and sketching scenery. Eventually, he settled in San Francisco, met the influential Mexican muralist Diego Rivera, and became a well-regarded painter, printmaker, and muralist. Murphy’s unconventional life path and choices of subject matter led a reviewer to remark in 1933:  “His story interests because it reveals how an artist grows up in America today, what it feels like to be an artist and what hardships may be cheerfully endured by one who feels the need to create” (Millier). All of Murphy’s work for the FAP dates to this period, nearly a hundred individual prints: series of lithographs showing steel riggers at work building the new Golden Gate Bridge; Ballet Russe dancers traveling through the city; rurally themed prints of cowboys, horses, and rodeos. “I can’t stand total realism,” he claimed, but as later critics suggested it was more a matter of matching at times wildly different styles to his wide-ranging subject matter (Cotter). After several exhibitions under the auspices of the FAP, in 1941 the San Francisco Museum of Art staged a solo show of Murphys’s considerable output. He was drafted into the Army, in 1943, as a combat artist in the Pacific. Murphy was an eyewitness to the <a href="https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf">Battle of Leyte Gulf</a> (1944), the largest naval battle of WWII, and on land recorded war atrocities through his drawings. Years later, he still was drawing those scenes from memory. Murphy returned to the US married to an Australian partner, settled in Old Saybroook, CT, and continued with his painting supplemented by income as an art teacher. During the mid-1960s, he was instrumental in forming the Old Saybrook Artists Association, supporting others until his death in 1991. 33 works at <a href="https://www.philamuseum.org/collection?artist=Arthur%20Murphy">Philadelphia Museum of Art</a>. 25 works at <a href="https://www.moma.org/artists/45861-arthur-murphy">MoMA</a>. 25 works at <a href="https://dia.org/search/collection?keys=arthur%20murphy">Detroit Institute of Arts</a>. 10 works at <a href="https://www.nga.gov/artists/33826-arthur-george-murphy">National Gallery of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/arthur-murphy-3464">Smithsonian American Art Museum</a>. 1 work at <a href="https://whitney.org/artists/4067">Whitney Museum of American Art</a>. 119 images at <a href="https://art.gsa.gov/people/1862/arthur-g-murphy/objects/images?page=1" target="_blank" rel="noopener">GSA</a>. Works Consulted: Arthur Millier, “Comfort and Security Mean Nothing to Creative Artist,” Los Angeles Times 10 Sep. 1933: 26; Kenton Robinson, “He Began To Draw, Then To See,” Hartford Courant 27 Dec. 1981: 23+; Steve Burkholder, “At 80, Artist Finds New Challenges in Early Subjects,” Hartford Courant 24 Jan. 1986: 56; Holland Cotter, “A Wanderer With an Eye For Textures of His Time,” New York Times 10 Sep 1993: 73 <a href="https://www.nytimes.com/1993/09/10/arts/review-art-a-wanderer-with-an-eye-for-textures-of-his-time.html">Link</a>. Arthur G. Murphy Federal Art Project industrialization lithograph New Deal Gallery https://openvalley.org/files/original/7350b33246dc842b699578771178bc57.jpg 0045800d7fbdd13797ce914460f51063 https://openvalley.org/files/original/45d408b329c153040623eef1f8a88bd5.jpg 3e4c4871f8808f0d73735b73760cc06e 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 Lithograph on paper Physical Dimensions The actual physical size of the original image 8 1/2 x 12 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 Bridge Worker No. 2 Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.5 MB Creator An entity primarily responsible for making the resource Murphy, Arthur G. (1906 - 1991) 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 1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken (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 1350 Type The nature or genre of the resource Still image Description An account of the resource This lithograph is one of several prints in Murphy’s “Bridge Worker” series in 1935, which was followed by a “Steel Riggers” series in 1936. The subject matter of both is construction of the Golden Gate Bridge whose active phase began in 1933 and was completed in 1938—one of the New Deal’s most famous infrastructure projects (see a collection of historical photos <a href="https://calisphere.org/collections/8624/" target="_blank" rel="noopener">here</a>). Virtually all of Murphy’s prints link the physical strength of men to their collective, nearly heroic, accomplishments; in this, the artist was like many others in mythicizing modern industry. In Bridge Worker No. 2, a massive steel rigger is braced against some footing beyond the frame. He may be pulling cable or using it to hold himself on the bridge; regardless Murphy's composition is monumental and the de-differentiated face borrows from that sculptural aesthetics.  About the Artist  Arthur Murphy was born in Tiffin, OH, later crediting aimless walks through its woodlands for teaching him how to see as an artist (Robinson). After graduation he moved to Cleveland and began work in the art department of the Central Press Association, meanwhile taking classes at the Cleveland School of Art. In 1927 Murphy relocated to New York, continuing his studies at the Art Students League with <a href="https://en.wikipedia.org/wiki/Boardman_Robinson">Boardman Robinson</a>. In 1930 Murphy took “one hell of a gamble” and left his illustrator job at the Associated Press—this during the Great Depression—to become a painter (Burkholder). He traveled West with virtually no money, riding trains with other hoboes and sketching scenery. Eventually, he settled in San Francisco, met the influential Mexican muralist Diego Rivera, and became a well-regarded painter, printmaker, and muralist. Murphy’s unconventional life path and choices of subject matter led a reviewer to remark in 1933:  “His story interests because it reveals how an artist grows up in America today, what it feels like to be an artist and what hardships may be cheerfully endured by one who feels the need to create” (Millier). All of Murphy’s work for the FAP dates to this period, nearly a hundred individual prints: series of lithographs showing steel riggers at work building the new Golden Gate Bridge; Ballet Russe dancers traveling through the city; rurally themed prints of cowboys, horses, and rodeos. “I can’t stand total realism,” he claimed, but as later critics suggested it was more a matter of matching at times wildly different styles to his wide-ranging subject matter (Cotter). After several exhibitions under the auspices of the FAP, in 1941 the San Francisco Museum of Art staged a solo show of Murphys’s considerable output. He was drafted into the Army, in 1943, as a combat artist in the Pacific. Murphy was an eyewitness to the <a href="https://en.wikipedia.org/wiki/Battle_of_Leyte_Gulf">Battle of Leyte Gulf</a> (1944), the largest naval battle of WWII, and on land recorded war atrocities through his drawings. Years later, he still was drawing those scenes from memory. Murphy returned to the US married to an Australian partner, settled in Old Saybroook, CT, and continued with his painting supplemented by income as an art teacher. During the mid-1960s, he was instrumental in forming the Old Saybrook Artists Association, supporting others until his death in 1991. 33 works at <a href="https://www.philamuseum.org/collection?artist=Arthur%20Murphy">Philadelphia Museum of Art</a>. 25 works at <a href="https://www.moma.org/artists/45861-arthur-murphy">MoMA</a>. 25 works at <a href="https://dia.org/search/collection?keys=arthur%20murphy">Detroit Institute of Arts</a>. 10 works at <a href="https://www.nga.gov/artists/33826-arthur-george-murphy">National Gallery of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/arthur-murphy-3464">Smithsonian American Art Museum</a>. 1 work at <a href="https://whitney.org/artists/4067">Whitney Museum of American Art</a>. 119 images at <a href="https://art.gsa.gov/people/1862/arthur-g-murphy/objects/images?page=1" target="_blank" rel="noopener">GSA</a>. Works Consulted: Arthur Millier, “Comfort and Security Mean Nothing to Creative Artist,” Los Angeles Times 10 Sep. 1933: 26; Kenton Robinson, “He Began To Draw, Then To See,” Hartford Courant 27 Dec. 1981: 23+; Steve Burkholder, “At 80, Artist Finds New Challenges in Early Subjects,” Hartford Courant 24 Jan. 1986: 56; Holland Cotter, “A Wanderer With an Eye For Textures of His Time,” New York Times 10 Sep 1993: 73 <a href="https://www.nytimes.com/1993/09/10/arts/review-art-a-wanderer-with-an-eye-for-textures-of-his-time.html">Link</a>. Arthur G. Murphy Federal Art Project industrialization Labor lithograph New Deal Museum https://openvalley.org/files/original/bab19e8d12e721e1fd1670e558fe6e5b.jpg c19eae4cf589bab10b5a6de9212da3c1 https://openvalley.org/files/original/ba8d855ef1c03ede58adfe8b1f4d637e.JPG abed2e210448c337c695a2c97e2c6c37 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 30 x 24 in. Condition: 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 Bridlepath, Central Park Description An account of the resource Three women and one man are seen riding horses along a muddy trail; a younger rider with two braided pigtails leading them. A faded building is seen in the background--and we remind ourselves that this is New York City. There seem to be three distinct parts of this painting: the upper includes the building and the top parts of the trees; the middle includes the horses and the people. The bottom part of the painting is separated distinctly where the grass meets the trail, including the horses' feet and the muddy trail. About the Artist: We haven’t located much reliable information about this artist. As his NDG painting suggests, Dowling appears to have specialized in sporting art. He created an historical painting, “Saratoga, 1917” that showed Racing Association members living and deceased (New York Herald 6 Aug. 1918: 3). Nine years later Dowling was asked to add 13 additional figures on the strength of his reputation in England and the US, which had included a portrait of Theodore Roosevelt. He also ran a series of portraits in Town and Country depicting the opera singer Enrico Caruso, lawyer Paul D. Cravath, financier Otto H. Kahn, and broker Henry Rogers Winthrop (The Saratogian 15 Aug. 1927: 5). Creator An entity primarily responsible for making the resource Dowling, William, 1907-1980 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) Apthorpe, Jessica (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18145 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 13.4 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 055 1930s Central Park Federal Art Project horses New Deal New Deal Gallery painting William Dowling https://openvalley.org/files/original/1d71948af0779cf36690a39749493c71.jpg 01cd6bdb2e5a4166c145cc2510bc894a 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 Bringing Cotton Into the Perry Knitting Company Description An account of the resource Two men are bringing the balled cotton into the Perry Knitting Company. One drives the forklift and one guides him. Publisher An entity responsible for making the resource available Perry, NY Public Library Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Rockwell, Mariah Source A related resource from which the described resource is derived Clark Rice Photography Collection Format The file format, physical medium, or dimensions of the resource jpeg, 2.9 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 5357 Clark Rice Photograph Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/57cc8bd3512045e9e036232cc8a8a0d7.jpg 11cfa925f0c07a0c1f6e527be877f6f6 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Paper broadside, 10.7 x 13.56 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 Broadside advertising land for sale in Western New York, 1837 Description An account of the resource Poster printed in New York City advertising land for sale in Genesee, Cataraugus (Cattaraugus), and Alleghany (Allegany) counties in the southwestern part of New York State, originally part of the Holland Land Company's vast tracts. The advertisement mentions as inducements to potential buyers the area's favorable climate and soil for farming (especially grain), the proximity to the Genesee Valley Canal and the Erie Canal, and the presence of existing settlements. Creator An entity primarily responsible for making the resource Macomber, D. O. Publisher An entity responsible for making the resource available New York: Henry Ludwig, printer Date A point or period of time associated with an event in the lifecycle of the resource 1837-05 Source A related resource from which the described resource is derived Dubois, Muriel L. New York State History. Adapted by Muriel L. Dubois and Janet Morrissey from the Jackdaw New York State by Andrew Bronin. Amawalk, N.Y.: Jackdaw, 2001. Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB Type The nature or genre of the resource Text GENESEE VALLEY Real Estate Settlement Western New York