2 10 1386 https://openvalley.org/files/original/d883b956b943c3237c2296aa5d4d4b4c.jpg 786cce1f4dcf7ea5dcf28fa0b12dddcb https://openvalley.org/files/original/667e6454e2e183237a6dc19190c0feed.jpg 5d339c497b356e64735d72d441819afe 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 on canvas Physical Dimensions The actual physical size of the original image 20 3/4 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 Summer Breeze Format The file format, physical medium, or dimensions of the resource jpeg, 2.7 MB jpeg, 1 MB Description An account of the resource Summer Breeze depicts a rural landscape arranged across a shallow but continuous picture plane. In the foreground, a pale dirt path curves from the lower right corner toward the center of the composition, cutting through an open field of grass. The ground is painted with loose, visible brushstrokes in light greens, yellows, and earth tones, creating an uneven surface. Small patches of vegetation and low shrubs appear scattered across the field. Slightly left of center, a small cow stands near a cluster of bushes. Several tall, slender trees rise vertically in the middle ground, their trunks thin and their foliage rendered with small touches of green and yellow. Behind the trees, a group of small farm buildings occupies the middle ground. Additional buildings extend toward the right, partially covered by trees and greenery. These structures appear smaller in scale than the trees and the field. The sky fills the upper portion of the composition and is painted in pale blue and gray tones with horizontal bands of soft clouds, accented with light pink and yellow highlights. The composition is asymmetrical, organized by the curving diagonal of the path and the vertical emphasis of the trees. Cool greens and blues fill the field and sky, while warm tones in the buildings create contrast and a focal area. Depth is suggested through overlapping forms, shifts in scale, and softer detail in the distance. About the Artist Joseph Sabalauskas (1896? –1970) was a Lithuanian-born American artist active in New York during the early to mid-twentieth century. Born in Lithuania, he immigrated to the United States and arrived in New York in 1927. By 1931, records show him living in Manhattan and working professionally as an artist. He served as a private in the United States Army during World War I before establishing his life and career in New York. Although little is known about his training or exhibitions, Sabalauskas’ artistic activity is confirmed through works in the U.S. General Services Administration Fine Arts Collection, where three pieces are attributed to him. These holdings suggest he may have been connected to federal art initiatives that supported artists during the Depression era. Later in life, he resided in Kings Park, Suffolk County, New York. Sabalauskas died in August 1970 and was buried at Long Island National Cemetery, leaving limited but documented evidence of his career as a New York–based immigrant artist. Creator An entity primarily responsible for making the resource Sabalauskas (1896? - 1970) 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 Contributor An entity responsible for making contributions to the resource Murty, Molly (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 27739 Type The nature or genre of the resource Still image Federal Art Project Joseph Sabalauscas Landscape Art New Deal Museum painting https://openvalley.org/files/original/786af418b8de0bba6bf787d0530630fe.jpg 687c704999896adf449ed03d93815208 https://openvalley.org/files/original/416142f38d58021006d9db1688f0f8c7.jpg 20f1fb7e2d6ea6cfb09d6c93323f0070 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 Color lithograph on paper Physical Dimensions The actual physical size of the original image Image: 10 3/4 x 14 in. Frame: 17 1/8 x 21 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 Uptown Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 467 KB Description An account of the resource Uptown depicts an urban street scene dominated by an elevated railway structure that extends diagonally across the composition. The green metal platform is supported by vertical columns and railings, forming a geometric framework above the street. A train car sits on the elevated track; its windows are shining with yellow light that contrasts with the darker surroundings. Below the structure, a single figure walks across the street holding an umbrella. The figure appears dark and slightly blurred in comparison to the surrounding architectural elements. The street surface appears smooth and reflective. On the right side of the image, a brick building corner with a large window and a trash can sits close to the base of the railway support. Another tall brick building rises on the left side of the composition, where a rooftop sign with partially visible letters extends into the sky. Above the buildings, a dark and cloudy sky fills the upper portion of the image. The composition emphasizes strong directional lines and contrasts in value. The diagonal placement of the elevated railway organizes the scene and creates movement across the image. Vertical columns and horizontal platform edges create a structural grid that balances the composition. Color contrasts also play a role in emphasizing key elements. Cool green and gray tones dominate the railway and sky, while warmer reddish hues define the brick buildings. The bright yellow train windows introduce a concentrated area of light and serve as a visual focal point against the darker environment. Spatial depth is suggested through overlapping forms, with the walking figure and street occupying the foreground, the railway supports forming the middle ground, and the buildings and sky receding into the background. About the Artist Leonard Pytlak (1910–1998) was an American serigrapher, lithographer, painter, teacher, and lecturer born in Newark, New Jersey. He studied at the Newark School of Fine and Industrial Art before continuing his education at the Art Students League in New York, where he was likely introduced to printmaking. Pytlak became an active member of the Graphic Arts Division of the New York City Works Progress Administration’s Federal Art Project from 1935 to 1941, producing prints and contributing to public art initiatives. Under the WPA/FAP, he completed a mural for Greenpoint Hospital in Brooklyn and developed a body of work that reflected everyday urban life in New York City. Pytlak was a founding member and twice president of the National Serigraph Society and was also affiliated with the Artists League of America, Audubon Artists, and the Philadelphia Color Print Society. His lithographs from the mid-1930s to early 1940s often depicted New York scenes such as the Bowery and Central Park. In 1943, he contributed the screenprint They Serve on All Fronts to the exhibition <a href="https://www.1stdibs.com/art/prints-works-on-paper/abstract-prints-works-on-paper/leonard-pytlak-whistle/id-a_15705292/">“America in the War,” organized by Artists for Victory</a>. The work, portraying a frontline medical surgery unit, won second prize in the serigraphy category. Throughout his career, <a href="https://collections.si.edu/search/results.htm?q=Pytlak%2C+Leonard">Pytlak exhibited widely</a>, including at the Art Institute of Chicago and the Metropolitan Museum of Art, where he received a prize in 1942, as well as at other major institutions. He was awarded a Guggenheim Fellowship in 1941. In addition to his artistic production, Pytlak dedicated many years to teaching drawing, painting, and screen printing. During the 1960s, he led a private class for students with disabilities through the New York State Rehabilitation Department. In 1982, the Craft Students League Gallery in New York mounted a retrospective of his fifty years of printmaking, recognizing his contributions to American graphic arts. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910 - 1998) 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 Murty, Molly (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 1404 Type The nature or genre of the resource Still image Elevated Train Federal Art Project Leonard Pytlak lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/7bc77ad773d209d604aca12e7398ad1f.jpg 07a29469812e251feffde33e653c253e https://openvalley.org/files/original/ad1e0b64ea920efaa7a739a554fb8dca.jpg 1e08d163dcbcc80115837f44479912a2 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 on canvas Physical Dimensions The actual physical size of the original image Canvas: 24 x 29 1/2 in. Frame: 30 3/4 x 36 1/2 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 Still Life With Cigarette Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.1 MB Description An account of the resource At the threshold between rooms, receding to a corner, we see flowers, a curtain, and a cigarette burning on an ash tray. Some objects appear to be there simply for their decorative patterns. Rites uses non-naturalistic colors like bright reds and blues among the wood to showcase the emotion in the room, rather than a realistic still-life. Rites uses a painterly approach: very clear brushstrokes and a lack of blending of most colors and shadows, which only remotely resemble the shape of an object. He uses blue splotches throughout the entire painting, to create flower petals as well as an unconsciously melancholic feeling of an empty apartment and a cigarette burning itself out in the midline. About the Artist Unfortunately, little information is known about this artist. He was born in 1900 in Ithaca, NY, the son of <a href="https://babel.hathitrust.org/cgi/pt?id=uc1.c2632388&seq=555&q1" target="_blank" rel="noopener">a renowned engineer</a> who had become wealthy from his patents. Rites’ parents separated, however, and his father died while Marion was still a teenager. He attended Ithaca High School and graduated from Cornell University in 1922. There are indications that he studied art in Paris and painted in Touraine, the Riviera, and Northern Africa (“Paintings”). His works were exhibited in 1932 at the <a href="https://www.mahj.org/en/decouvrir-collections-betsalel/galerie-de-la-renaissance-6585" target="_blank" rel="noopener">Galerie de la Renaissance</a> and received favorable mention for their cosmopolitanism and “painterly temperament” (Dictionaire). Rites was influenced by the French Impressionist <a href="https://www.nationalgallery.org.uk/artists/paul-cezanne" target="_blank" rel="noopener">Paul Cézanne</a>, including his bold brushstrokes; use of muted and earthy tones, greens and blues; and his thick application of paint. Along with another artist, David Dorfman, Rites illustrated a 1941 WPA children’s book titled <a href="https://searchworks.stanford.edu/view/in00000129820" target="_blank" rel="noopener">Tales of Old New York,</a> published by the New York Board of Education. Little is known about this artist beyond the works he left behind. His date of death is also unknown. 4 works at the <a href="https://art.gsa.gov/artworks/725/still-life-with-cigarette?ctx=937f730ef375fb1b8257b0d4fd42b9f8faf23648&idx=307" target="_blank" rel="noopener">U.S. General Services Administration</a>. 2 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-18" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Paintings of Marion B. Rites, Former Ithaca Resident, Are Favorably Mentioned Abroad,” Ithaca Journal 19 Dec. 1933: 7; <a href="https://archive.org/details/bwb_S0-BKW-886/page/211/mode/1up" target="_blank" rel="noopener">Dictionaire Biographique des Artistes Contemporains</a> (1934). Creator An entity primarily responsible for making the resource Rites, Marion B[uchanse], 1900 - ? 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 Contributor An entity responsible for making contributions to the resource Loucks, Paige (description) Harrington, Gwenyth (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 816 Type The nature or genre of the resource Still image Federal Art Project Hospital Marion Rites New Deal Museum painting still life https://openvalley.org/files/original/5b63fec26b13bc162d02c118d3d717ca.jpg c100c643c7e58148e0a2d47495307099 https://openvalley.org/files/original/fd5979f1d42afa9ee9547334f4d078a3.jpg 6ed14d06f9f540682ec58e26893b7ea9 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 on canvas Physical Dimensions The actual physical size of the original image 24 × 20 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 Still Life With Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 1.1 MB Creator An entity primarily responsible for making the resource Howland, Isabella (1895 -1974) 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 Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 830 Type The nature or genre of the resource Still image Federal Art Project Isabella Howland New Deal Museum painting still life https://openvalley.org/files/original/6b52cd31865c3663cf4a876dca671905.jpg 973a25989ace44b2714a096b2b5a6664 https://openvalley.org/files/original/4f4e02daeb773568664dd42a4b517025.jpg c290226bd68b737040bab25f36ec0532 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 on canvas Physical Dimensions The actual physical size of the original image Image: 29 1/4 x 23-1/2 in. Frame: 34 3/4 x 29 1/4 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 Spring Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.2 MB Description An account of the resource Cecil Chichester’s Spring Landscape is an oil painting depicting birch trees set against rolling blue hills. There are no people or animals present in the image, making it entirely focused on nature. The lighting is soft, with the sun shining through the trees, making it seem as if the sun has just risen or is about to set. Two birch trees are seen in the foreground, one splitting into a V-shape, and the other standing singularly. There is no single focal point of the image. It is cohesive and allows the viewer’s eye to roam over the piece as they please. This is a foreground-dominant landscape, made clear by the contrast in value and hue between the foreground and background. The foreground is brighter and warmer-toned, in contrast to the darker, cooler-toned background, which places emphasis on the trees. The foreground is also more detailed; the leaves are visible on the two main trees, whereas those in the background fade into the hills. There is a path in the middle of the trees, lit by sunlight, that suggests the viewer could travel into the image, making it appear to be larger than it is. Creator An entity primarily responsible for making the resource Chichester, Cecil (1891 - 1963) 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 1938 Contributor An entity responsible for making contributions to the resource Donalty, Kenna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 828 Type The nature or genre of the resource Still image Cecil Chichester Federal Art Project Landscape Art New Deal Museum painting https://openvalley.org/files/original/b2843be31ecfc3f99797828aa2f2f240.jpg 9956eda6bb8efa9049f6404be581ab30 https://openvalley.org/files/original/484d1e11b73d973a9ca6273e76830a2e.jpg 0cdf09cd8c7bebb991d22453a9262c1a 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 on canvas Physical Dimensions The actual physical size of the original image Canvas: 30 x 24 in. Frame: 35 x 30 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 A Peaceful Valley Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.3 MB Description An account of the resource Powell depicts a calm, rural landscape, with a flowing stream that starts in the foreground and curves across the canvas. The colors of the work become hazier, and brushstrokes become more organic as the eye moves from the foreground to the background, utilizing the technique of atmospheric perspective. The waters appear still, with bits of rock and greenery peeking out from the surface, providing more visual interest to the foreground. On the left side of the canvas, closer to the middle ground, there is a patch of land with foliage and a cluster of trees. consisting mostly of green, with bits of warmer colors dispersed throughout the bushes. The trunks and limbs of the trees are dark, creating a contrast against the soft green of the leaves. On the right side of the painting, another patch of land sits. There is less contrast in this area, as it is approaching closer to the background. On this side, we can see the figure of what appears to be a farmer and a goat-driven wagon. Due to the loose strokes used to create these figures, they almost seem to blend into the surrounding landscape. The painting embodies its title, as while it depicts a scene that can be interpreted as a farmer doing his job, it is simultaneously calm and serene. It reflects Powell’s later life, when he would be creating works for the WPA. He was older, and instead of traveling and doing grander things as he had in his younger years, he had more or less settled down. The farmer in the background may represent Powell himself, as while he is still working, the life he lives is much calmer than it may have been in the past, and this difference in style between this painting and some of his older works further shows this. About the Artist Powell was an American painter and muralist known primarily for his atmospheric landscape paintings. Born in Van Wert County, Ohio, he developed an early interest in art and eventually pursued formal training. Over the course of his career, he became associated with American landscape painting, particularly the natural scenery of the northeastern United States. His career spanned from the late nineteenth and early twentieth centuries, meaning he was quite far along in his art career when he began creating works under the Federal Art Program. Powell studied at several notable art institutions, including the San Francisco School of Design, the St. Louis School of Fine Art, and the Académie Julian in Paris. This combination of American and European education exposed him to a variety of artistic traditions and techniques, which influenced his approach to painting. His works often featured carefully observed natural environments such as forests, mountains, streams, and farmland, of which he based on places he’s been. Earlier in his career, he tended to paint grand landscapes of the West. He made paintings of National Parks, such as his work “Going to Sun Mountain, Glacier Park” and “Lincoln Peak, Glacier National Park.” In addition, he also made works encapsulating the expanse of the Grand Canyon. His career in his later years consisted of him painting more calm, rural landscapes, as he wasn’t traveling as much. His art was praised, particularly for how he composed the subjects of his work and his usage of color. Throughout his career, Powell lived and worked in both New York City and Dover Plains, New York. In addition to creating easel paintings, he also produced murals for public and religious buildings. Some of these murals were installed in churches in New York as well as in Bowne Hospital in Poughkeepsie, which was a sanatorium much like the New Deal Museum on Mt. Morris. Powell was active in the American art community and belonged to several professional organizations. He was elected an academician of the National Academy of Design in 1921 and remained associated with the institution for the rest of his life. He was also a member of the Salmagundi Club, the New York Watercolor Club, and was a founder of Allied Artists of America. During his career, he exhibited widely and received multiple awards for his work. Powell continued painting well into his late years and died on July 15th, 1956, in Poughkeepsie, New York. Today, his paintings of scenic landscapes remain part of museum collections and art auctions, preserving his contribution to American landscape painting. Creator An entity primarily responsible for making the resource Powell, Arthur Emery (1864 - 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 Contributor An entity responsible for making contributions to the resource Papapietro, Isabella (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 231 Type The nature or genre of the resource Still image Arthur Emery Powell Federal Art Project Landscape Art nature New Deal Museum https://openvalley.org/files/original/21694217bf13b9a3152ce7aa8dd2673e.jpg bcb4a5a27076ef8b97c896b70debdb10 https://openvalley.org/files/original/5c8cf140cab4ce7643589271a7f5419d.jpg 7189e5a9a74b47130061d8adc3f0faff 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 engraving Physical Dimensions The actual physical size of the original image 4 x 6 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 Evening Meal Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg 916 KB Creator An entity primarily responsible for making the resource Rico, Dan (Don), 1912 - 1985 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 Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1470 Type The nature or genre of the resource Still image Dan Rico Engraving Federal Art Project New Deal Museum https://openvalley.org/files/original/e8deb7ae397142c9d966035b6ca452dd.jpg 777e119286d222e226f5cfd99fa9d669 https://openvalley.org/files/original/5a343855d7f273511beffafd0baccd4c.jpg 5b22caceb139a6b24df934746f325dfd 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 Color lithograph on paper Physical Dimensions The actual physical size of the original image Sheet: 12 1/2 x 17 1/2 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 Portia Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.5 MB Description An account of the resource We see a younger person in a self-reflective pose. Abelman's print focuses on the upper body, bringing the viewer close to the subject’s tilted head and raised hand. The delicate lines, subtle light, and shadows highlight the subject’s upper physique. Features such as the neck, hand, and cheek are prominent. The artist uses soft, earthy colors like muted pinks, pale blues, and light greens. This creates a pensive and somber mood. The shirt’s vertical stripes contrast with the curving lines of the floral background, highlighting the space distructing us from the individual. <o:p></o:p>Abelman’s ability to create three-dimensional forms is evident in the line shading and layered tones, making the print feel organic and intimate. The narrow spatial depth flattens the background pattern, bringing the figure forward and enhancing the emotional impact. The viewer can sense that this print is emotional and vulnerable from the hand’s placement against the chest. About the Artist Ida Abelman (New York, 1910-2002) was an artist renowned during the New Deal Art Era, particularly for her lithography work.  Born in New York City to parents from Russia and Poland, she married Larry Abelman in Greenwich Village at age 19. Both she and her husband shared an interest in art. Ida studied at several art institutions, likely beginning her training in the late 1920s or early 1930s. At Hunter College, she trained under Joe Miller and her skills became more advanced at the   Grand Central School of Art, where she focused on painting, printmaking, and drawing. She was also attended the National Academy School of Fine Arts, the Art Students League, and the City College of New York. With a strong educational background, Abelman was recognized as a social realist artist, heavily influenced by constructivism and surrealism. Abelman began her involvement with the New Deal Art programs in 1934, when she was first employed by Civil Works Administration. She then became a member of the FAP and WPA from 1936 to 1939, producing 23 works of art.  Most of her work during that period was produced in New York City. She worked as a lithography instructor and helped design a major WPA exhibition on public housing at the Community Federal Art Center in Sioux City, Iowa. She was also a member of the WPA Design Laboratory School in New York, which was modeled on the German Bauhaus design school. Abelman participated in the labor movement. She was a member of the American Artists Congress (an anti-fascist group of artists) and a founding member of the Artists Union's Public Use of Art Committee, where she showcased her art in union halls to support workers' rights. Ida’s contributions to the FAP and WPA were fundamental in a time when art was needed more than ever. At the end of the Great Depression, Abelman began teaching at the Fine Arts Institute from 1941 to 1945. During that time, she also developed an interest in murals. She completed federal post office murals in Lewistown, Illinois, and designed and created Boonville Beginnings in Boonville, Indiana. Ida and Larry Abelman moved to Sag Harbor, Long Island, after their children were born. They seemed to have experienced antisemitism following World War II and therefore received few artistic commissions. In 1987, Abelman visited her old WPA mural sites. Ida Abelman continued to work as an artist until her death at 92. Leaving behind 6 grandchildren, 2 great-grandchildren, and a few nieces and nephews. Creator An entity primarily responsible for making the resource Abelman, Ida (1910 - 2002) 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 Alessi, Bella (desription and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1061 Type The nature or genre of the resource Still image https://openvalley.org/files/original/3c39fe83b4f21c39921fed54134e3fde.jpg df5be25aa2f968ffcd0a4678aa2cbd44 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 Microfilm negative of record book 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 Potter's Field (Hart Island) Burial Record Description An account of the resource After a variety of uses, this small island in Long Island Sound first was used as a mass cemetery following the Civil War. It quickly became a burial ground for New York's indigent, then its uses expanded rapidly: a quarantine area during times of pandemic, a psychiatric hospital, a boy's workhouse, a prison...anyone the troubled the city with their visibility.  This image is in OpenValley to show a single page from the records of its mass burials, here covering the months of July-December 1935. In its columns listing cause of death, several show the initials "TB"--that is, tuberculosis. Hart's Island had a tubercularium dating to the 1880s, and it also interred people who had died of the disease in other hospitals. The Federal Art Project lithographer David Burke situated one of his works at Hart Island: <a href="https://openvalley.org/items/show/2159" target="_blank" rel="noopener">He Calleth His Own By Name--Potter's Fields</a> (1935-42). Publisher An entity responsible for making the resource available Department of Corrections, City of New York Date A point or period of time associated with an event in the lifecycle of the resource 1935-07 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://archive.org/details/NYC_Potters_Field_Hart_Island_City_Cemetery_-_Burial_Records_1935/page/n134/mode/1up?q=TB" target="_blank" rel="noopener">Courtesy Reclaim the Records / Internet Archive</a> Type The nature or genre of the resource Still image Hart's Island, NY Mass Grave Potter's Field tuberculosis https://openvalley.org/files/original/6b6c9e7fcdc82caa58b3ed2e93a04650.jpg b9a76871c3bc0cfda58df964c08ca35c https://openvalley.org/files/original/78b0525d49ce1b77328bea19f67f3235.jpg 497ef67dc98416999018a120aa8e6d41 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 Image: 16 x 12 x 16 in.  Sheet: 23 x 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 He Calleth His Own by Name--Potter's Field Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 1.7 MB Description An account of the resource Burke’s lithograph depicts an unidentifiable graveyard, set on rolling hills with trees scattered throughout the image. There are small human figures in the background, but the entire print feels desolate and void. Smaller gravestones are visible peeking through the grass, but the clear focal point of this image is a massive cruciform gravestone in the foreground of the print. The eye first travels to the right to the cross, then to the left to a scraggly tree, and finally to the background, where people appear to be digging. There is a contrast between the tonal values of the foreground and the background, with the foreground much darker and more defined, and the background lighter and more amorphous. It places a clear emphasis on the cross, disproportionately large and inevitably drawing attention--in stark contrast to the invisible indigent buried on Hart's Island, and the prison inmates who dug their graves. Burke's title alludes to a passage in <a href="https://www.biblegateway.com/passage/?search=John%2010&version=KJV" target="_blank" rel="noopener">John 10:3</a> that harshly judges the treatment of poor people in human societies, compared to a just world. About the Artist David Burke (Bochkousky) was born in Cleveland, Ohio in 1917. At some point in his early life, he changed his name to Burke, anglicizing it, perhaps to avoid anti-immigrant sentiments. Other than that, little is known about his life before his work with the WPA. He would have been about twenty when he moved to New York City to work for the Federal Art Project around the late 1930s. During this time, he was a student at the <a href="https://en.wikipedia.org/wiki/American_Artists_School">American Artists School</a>, a progressive school in New York City, associated with socialism. By 1940, he was a part of the faculty, teaching lithography classes there in the evenings (Stanley). Burke was also part of the American Artists Union. Starting in 1938, union members put on exhibitions to support artists during the Great Depression. His work, along with many others, like New Deal Museum artists Hugh Pearce Botts and Ernest Trubach, were shown at these exhibitions (McCausland). Along with this, Burke’s paintings were exhibited in many different galleries and schools in New York City, most notably at the New York World’s Fair in 1939. Here, he exhibited his work Evicted - Nanking, which unfortunately seems to have been lost to time. Burke also did an illustration for the Federal Writers Project’s New York City Guide (1939) showing a scene of a <a href="https://archive.org/details/wpaguidetonewyor0000unse/page/n651/mode/1up">Clam Shack</a> in Brooklyn. He was clearly very active during the New Deal era, but there is little information about his later life. It is unclear what he did afterwards or when he died, but his legacy lives on in many galleries across the United States. 18 works at <a href="https://www.metmuseum.org/art/collection/search?q=David+Burke&searchField=ArtistCulture">Metropolitan Museum of Art</a>, plus 1 as <a href="https://www.metmuseum.org/art/collection/search/374285">David Bochkowsky</a>. 3 works at <a href="https://www.nga.gov/artists/34161-david-burke">National Gallery of Art</a>. 2 works at <a href="https://emp-web-95.zetcom.ch/eMP/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspReferenceLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F&sp=Sartist&sp=l1618">Sheldon Museum of Art</a>. 1 work at <a href="https://collections.newarkmuseumart.org/search/david%20burke">Newark Museum of Art</a>. 3 works at <a href="https://www.philamuseum.org/collection?artist=David%20Burke">Philadelphia Museum of Art</a>. 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-49">FAP</a>. Works Consulted: Art News 1 April 1939: 15+ <a href="https://archive.org/details/sim_artnews_1939-04-01_37_27/page/22/mode/1up?q=%22david+burke%22">Link</a>; Lee Stanley, “Teaching Democracy in Art,” Daily Worker 12 April 1940: 7 <a href="https://archive.org/details/per_daily-worker_daily-worker_1940-04-12_17_89/page/2/mode/1up?q=%22david+burke%22+">Link</a>; Elizabeth McCausland, “Significant Exhibits in Many Galleries,” Springfield Sunday Union and Republican 6 Feb. 1938: 6E <a href="https://www.newspapers.com/image/1063306911/?match=1&terms=%22david%20burke%22%20artist">Link</a>; Creator An entity primarily responsible for making the resource Burke, David (Bochkousky), 1917 - ? 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 Donalty, Kenna (description and biography) Helquist, Morgan (photograph) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1151 Type The nature or genre of the resource Still image David Burke Federal Art Project Hart's Island, NY lithograph New Deal Museum Potter's Field