28 10 1402 https://openvalley.org/files/original/507511f5ce3f72445497052ef767ad3f.jpg dee8430bd2481eb541e21e8297718025 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 12.5 x 18.7 inches 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 Cathedral Termite Mounds Description An account of the resource Cathedral termite mounds, Litchfield National Park, Northern Territory, Australia Creator An entity primarily responsible for making the resource David Wall Publisher An entity responsible for making the resource available Alamy Stock Photo Date A point or period of time associated with an event in the lifecycle of the resource 13 May 2011 Contributor An entity responsible for making contributions to the resource McCrohan, Niamh Format The file format, physical medium, or dimensions of the resource jpeg, 60.2 MB https://openvalley.org/files/original/ad6b39d43ccf778a67c15fca5a2aaf8a.jpg 19f9c51768289b77b059fd65140be345 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Upper Falls of the Genesee, ca. 1761 Creator An entity primarily responsible for making the resource Davies, Thomas, 1737-1812 (artist) Mazell, Peter, 1761-1802 (engraver) Gavit & Duthrie (copy of engraving) Date A point or period of time associated with an event in the lifecycle of the resource 1761-1762 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 660 KB Source A related resource from which the described resource is derived Pouchot, Pierre, and Franklin Benjamin Hough, Memoir upon the late war in North America, between the French and English, 1755-60 : followed by observations upon the theatre of actual war, and by new details concerning the manners and customs of the Indians ; with topographical map, W. Elliot Woodward, 1866. <a href="https://archive.org/details/memoiruponlatewa02pouc/page/n196?q=Casconchiagon+davies" target="_blank" rel="noopener">Via Internet Archive</a> Description An account of the resource This is one of the earliest known images of waterfalls in the vicinity of present-day Rochester, NY. Davies, a British Army officer, had trained to provide drawings for military. The drawing here was one of a series produced during the French and Indian War, especially of the Niagara and Genesee Rivers. The caption reads: "South East View of the Great Cataract on Casconchiagon or Little Seneca's River, Lake Ontario, 1768. Type The nature or genre of the resource Still image Genesee River High Falls Thomas Davies Upper Falls Watersheds https://openvalley.org/files/original/8ac0b2353aff9eb4deb38b92aded9072.jpg cc74e661b1528a1fe0310eb2b9c907d6 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 Wood engraving Physical Dimensions The actual physical size of the original image 6.97 x 2.92 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 Drawing of the Pleasant Valley Winery, located in New York State's Finger Lakes region Description An account of the resource An 1872 illustration of the Pleasant Valley Winery in Hammondsport, showing the beautiful view of the southern tip of Keuka Lake, the "Crooked Lake." This is one of the most historic wineries in the Northeast, having been established in 1860. Creator An entity primarily responsible for making the resource Davis, Theo R. Publisher An entity responsible for making the resource available Harper's Weekly Date A point or period of time associated with an event in the lifecycle of the resource 1872-05-11 Contributor An entity responsible for making contributions to the resource Viglucci, Matthew Source A related resource from which the described resource is derived Davis, Theo R. "Pleasant Valley During the Grape Harvest." *Harper's Weekly* 11 May 1872. Web. 06 Dec. 2015. Format The file format, physical medium, or dimensions of the resource jpeg, 591 KB Type The nature or genre of the resource Still image https://openvalley.org/files/original/cc34139b4f2e79ef6d08b86e2dd52541.jpg ca65b0e2847714b3948fad49c5e9328c https://openvalley.org/files/original/515a9f0f3b555f5a7467fe84b230123c.jpg dec36e3f41232109ae36e41e7bf346fc 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 painting Physical Dimensions The actual physical size of the original image 29 1/4 x 35 3/8 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 Hendrik Hudson Bridge Description An account of the resource We behold an arch bridge under construction in a seemingly non-urban setting, its steel ribs elevated over gray flowing water underneath—perhaps indicating that a large boat has just passed underneath. The area surrounding the bridge contains greens that contrast the industrial aspects of the bridge itself, but we also see large buildings in the background. Color is an important element of this piece. Compared to <a href="https://en.wikipedia.org/wiki/Henry_Hudson_Bridge#/media/File:Henry_Hudson_Bridge_HH_RAS_6_19_1936.jpg" target="_blank" rel="noopener">photographic records</a> of the Hudson construction, De Felipe’s painting seems to be an parable of industrialization, shown through color contrast. The orange of the bridge and buildings versus the green of the trees in the background is juxtaposes industrial structures and natural life. The gray values at the top of Felipe’s painting indicate a moving cloud of smoke that further provides juxtaposition of the natural and industrial worlds. This disparity is also expressed through the sharp lines of the bridge that abruptly cut through the natural background. The piece provokes the viewer to consider the glaring imposition of industrialization on the natural world. The contrast between the bridge in the foreground and the natural world surrounding it indicate a misplacement of industrial life. Originally painted in the 1930s, this piece is likely a commentary on the era of industrial expansion in America. Note: In 2023, the General Services Administration’s Office of Inspector General <a href="https://www.gsaig.gov/sites/default/files/semiannual-reports/GSA-OIG-SAR-Spring-2024.pdf">recovered this painting</a> and returned it to the New Deal Museum in Mount Morris, NY. About the Artist: Juan de Felipe was born in Guanajuato, Mexico in 1904. He then travelled from Juarez to New York City in 1919, where he would remain for much of his life. During his time in New York, he was recognized in galleries and received awards. He won the Art Students’ League Fellowship from the <a href="https://brooklynrail.org/2019/04/artonic/Louis-Comfort-Tiffany-Foundation/" target="_blank" rel="noopener">Tiffany Foundation</a> in 1929, which provided living quarters and facilities for easel painters. After he received the fellowship, he took part in the annual exhibition of the Society of Independent Artists in New York City in 1930. Evidence of his presence in the New York art scene reappears in 1937 when he took part in two exhibitions: a show sponsored by the left-wing Artists’ Union at the New School for Social Research; and the Pink Slips Over Culture exhibition in 1937, which showed pieces from artists who had been fired from the Federal Art Project—many for lacking U.S. citizenship (. This reminds us that de Felipe likely encountered discrimination throughout his career, for example in 1930 a New Yorker critic calling him their “favorite Primitive” (Pemberton). By 1937, pressures for cutting the Federal Art Project became prominent, with over 600 New York artists removed from the relief program. In response, the Artists’ Union organized sit-ins to protest program cuts, including those who took part in cultural projects. Years earlier, de Felipe’s first opportunities had come through the Society of Independent Artists, which advocated for a “no judge, no prize” acceptance criteria where all art submitted to the organization was accepted no matter the artist’s experience or success. Today, virtually all of his art is lost to history. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-5" target="_blank" rel="noopener">1 image at FAP.</a> Works Consulted: Margaret Breuning, “Group Exhibitions Feature the Week and Indicate Closing of Art Season” (New York Evening Post 11 May 1929); Digital Museum of the History of Japanese in NY, “September 1937 Exhibition of Asian Artists Excluded from the WPA” <a href="https://www.historyofjapaneseinny.org/japanese-artists-during-the-prewar-period-in-new-york-city/stories/chapter-6-american-artists-congress-and-new-york-civic-art-exhibition/visit-exhibition-1936-1940/december-1937-in-defense-of-world-democracy-an-exhibition-dedicated-to-the-people-of-spain/" target="_blank" rel="noopener">Link</a>; Jacob Kainen, “Dismissed Artists Give ‘Pink Slip’ Exhibition” (Daily Worker 24 July 1937: 7) <a href="https://archive.org/details/per_daily-worker_daily-worker_1937-07-24_14_176/page/n6/mode/1up" target="_blank" rel="noopener">Link</a>; Jerome Klein, “The Critic Takes a Glance Around the Galleries” (New York Post 3 June 1937); Henry McBridge, “Grand Central Palace Well Suited for Their Display” (The New York Sun 8 Mar. 1930); Elizabeth McCausland, “Save the Arts Projects” (The Nation, 17 Jul. 1937); Gerland M. Monroe, “Artists on the Barricades: The Militant Artists Union Treats with the New Deal" <a href="https://www.darkmatterarchives.net/wp-content/uploads/2011/11/MonroeAAAJ1978.pdf" target="_blank" rel="noopener">Link</a>; New York Art Resources Consortium, “The Avant-Garde and the Society of Independent Artists” <a href="https://gildedage2.omeka.net/exhibits/show/highlights/movements/avantgarde">Link</a>; “News and Reviews of Books,” New York Sun 28 May 1930); Murdock Pemberton, “Metropolitan Mexicans” (New Yorker 1 Nov. 1930: 47-48) <a href="https://www.newyorker.com/magazine/1930/11/01/metropolitan-mexicans-fireworks-by-miro-the-popular-and-the-also-ran">Link</a>. Creator An entity primarily responsible for making the resource De Felipe, Juan (1904-?) 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 Scamardo, Sam (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 27875 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.6 MB Type The nature or genre of the resource Still image Artists Union Federal Art Project Hendrik Hudson Bridge Juan de Felipe New Deal Museum painting https://openvalley.org/files/original/fc337f8a1c4ea9fbed410614c5575964.JPG ce423fd6c0a63ec18444eeda75c5d403 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 Woodcut print Physical Dimensions The actual physical size of the original image 10.5 x 8.5 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 Old Brickyard, Chelsea Format The file format, physical medium, or dimensions of the resource jpeg, 973 KB Description An account of the resource Sometimes called Low Point, Chelsea, NY is located north of the present-day Newburgh-Beacon Bridge. Dean’s etching shows the ruins of what had once been a thriving Hudson River industry, using mud from seasonal deposits. We see grass in the foreground, possibly of some marshy variety, and a profusion of foliage in various textures reclaiming the brickworks buildings. At far right, a human figure serves to render the scale. About the Artist: Born Robert Jerome Dean in Chattanooga, TN, this NDG artist was primarily a cartoonist. Having attempted to join the circus as a contortionist, Dean moved with his family to Buffalo and eventually studied at the Student Art League. His first job was drawing turf cartoons for Horse World—Buffalo, then editorial cartoons for the Buffalo Times. In 1905 Dean joined the Atlanta News (a city where he lived for several years). Dean was a prolific, sometimes imaginative illustrator at Joel Chandler Harris’s <a href="https://babel.hathitrust.org/cgi/pt?id=njp.32101079674709;view=2up;seq=4" target="_blank" rel="noopener">Uncle Remus’s Magazine</a>; while working there he created a hybrid fantasy story-comic strip called The Zotwots that was published between 1908 and 1914. When Harris’s magazine folded the strip ran for a short period in the New York Herald. Like many other cartoons of this period, racial humor and minstrelsy sometimes informed Dean’s series. He then moved to New York City to find work where he could as a writer and illustrator: Collier’s magazine, the New York Journal, Herald, and Telegraph Some of his drawings found their way onto lithographs, wooden jigsaw puzzles, and ceramic plates. He spent his last twenty years living in Dutchess County. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-1" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Dean, Bob, 1875-1949 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18141 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 051 Federal Art Project New Deal Gallery Robert "Bob" Dean woodcut https://openvalley.org/files/original/4cf9f9f163e2151233e86cec623374b3.jpg 9013e87c41cf6bbb86e5066f22a8ddfb https://openvalley.org/files/original/9ca775330c332de492f8e4de3d7af79c.JPG e400bd4f6913b3be678e0151ad52f5e3 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 29.5 x 24.5 in. Condition: cracked paint Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource California Fruit Description An account of the resource A rectangular table is the platform for dried flowers and branches in an ornamental vase, a clear pedestal fruit bowl filled with pears, grapes and nectarines, as well as a small serving platter holding the same fruit. The vase and table are adorned with cool-colored shapes, without pattern. A blue fabric with pronounced brushstrokes is draped diagonally across the table from the wall behind it. A framed painting in the background juxtaposes the dried contents of the vase with a depiction of green tree leaves. About the Artist: Born Benzion Elias Delman in Jerusalem, Palestine, this NDG artist studied at the Bazelel Academy of Arts and Design and then in Paris before immigrating to New York in 1915. As of 1918 he was a staff artist for the Jewish Daily News. Delman became a citizen in 1923, and eventually moved to Chicago in 1942. His works were featured in exhibits sponsored by the National Academy of Design (1932), the New York City WPA—“Market Scenes” at the USDA in 1941, along with NDG artists Fred Adler and Herman Copen—and by the Art Institute of Chicago (1947). Delman is a study in perseverence: during the late 1940s he was working in the notions department at Mandel Brothers’ department store in Chicago, and did most of his painting (and etching) at night. His “Figure of an Old Man” at the gates of Jerusalem was shown at a 1949 exhibition sponsored by the store. The Mandels had “expected a few workers to turn up with stamp and shell collections and they were aware that a couple of salesmen liked to paint still lifes—but they weren’t prepared for the scores of employees who volunteered to exhibit” (Chicago Tribune 12 Jan. 1950: 26). 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-9" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Delman, Ben E., 1898-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Anderson, Justin (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 #FA18142 Format The file format, physical medium, or dimensions of the resource jpeg, 836 KB jpeg, 11.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 052 Ben Delman Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/30f695be750065338b37433034fe055d.jpg 0dd1e663cdac54ee9216e0cb582ef6c6 https://openvalley.org/files/original/db7223302ac5d70a3677e69bfd5b4b8c.JPG debb5a82f5a0b60a3e94ba92e6ca0cc8 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: cracked paint Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Goldfish Globe Description An account of the resource A woman, sitting on a backwards chair, observes a clear bowl with four swimming goldfish. A round table is the platform for the bowl; an empty, yellow-covered book; dried branches in a small vase; grapes; and a pear. An unknown light-source illuminates the woman, as sunlight simultaneously enters the room through a closed window in the middle ground. Similar apartment buildings occupy the background. Cool colors, warm colors, confinement behind glass and a blank expression are shared between the woman and the fish. About the Artist: Born Benzion Elias Delman in Jerusalem, Palestine, this NDG artist studied at the Bazelel Academy of Arts and Design and then in Paris before immigrating to New York in 1915. As of 1918 he was a staff artist for the Jewish Daily News. Delman became a citizen in 1923, and eventually moved to Chicago in 1942. His works were featured in exhibits sponsored by the National Academy of Design (1932), the New York City WPA—“Market Scenes” at the USDA in 1941, along with NDG artists Fred Adler and Herman Copen—and by the Art Institute of Chicago (1947). Delman is a study in perseverance: during the late 1940s he was working in the notions department at Mandel Brothers’ department store in Chicago, and did most of his painting (and etching) at night. His “Figure of an Old Man” at the gates of Jerusalem was shown at a 1949 exhibition sponsored by the store. The Mandels had “expected a few workers to turn up with stamp and shell collections and they were aware that a couple of salesmen liked to paint still lifes—but they weren’t prepared for the scores of employees who volunteered to exhibit” (Chicago Tribune 12 Jan. 1950: 26). 3 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-9" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Delman, Ben E., 1898-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-09 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Anderson, Justin (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 #FA18142 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 14.1 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 053 Ben Delman Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/d29ff8ebf0c2bf4dbf9fe16388c6dfcb.jpg 1257d982a8d106d40b32ec3ece1da176 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 illustration 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 Dorothy and Toto's green spectacles Creator An entity primarily responsible for making the resource Denslow, William Wallace, 1856-1915 Date A point or period of time associated with an event in the lifecycle of the resource 1900 Contributor An entity responsible for making contributions to the resource Cooper, Ken Description An account of the resource This cropped illustration appears in L. Frank Baum's The Wonderful Wizard of Oz, when Dorothy and her companions reach the Emerald City. There they meet the Guardian of the Gate, who outfits them with green spectacles to protect them from the glare of the city's majesty. It has been included in OpenValley to support a story map on surrealism at the New Deal Gallery, Mount Morris. Publisher An entity responsible for making the resource available George M. Hill Source A related resource from which the described resource is derived L. Frank Baum, The Wonderful Wizard of Oz (George M. Hill, 1900): 116-117. <a href="https://archive.org/details/wond_wiz_oz/page/n139" target="_blank" rel="noopener">Courtesy of Internet Archive.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 828 KB Type The nature or genre of the resource Still image L. Frank Baum New Deal Gallery surrealism The Wonderful Wizard of Oz https://openvalley.org/files/original/a68600967c85bcaac564a8373e9e26ad.jpg 4f9e7589ef5b6e9640ac8ce35fcac1fa 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 Lithographed poster 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 Poster for The Wonderful Wizard of Oz Description An account of the resource L. Frank Baum's surreal book for children, published to great acclaim in 1900, is advertised in this rare poster. It borrows artwork from the novel's title page, gives it a landscape orientation, and adds a few promotional blurbs. It is included in OpenValley to support an exhibit concerning surrealist art at the New Deal Gallery, Mount Morris. Publisher An entity responsible for making the resource available Carqueville Litho Company Creator An entity primarily responsible for making the resource Denslow, William Wallace, 1856-1915 Date A point or period of time associated with an event in the lifecycle of the resource 1900 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 129 KB Source A related resource from which the described resource is derived <a href="http://www.loc.gov/exhibits/oz/images/uc10.jpg" target="_blank" rel="noopener">Library of Congress</a> Type The nature or genre of the resource Still image L. Frank Baum New Deal Gallery surrealism The Wonderful Wizard of Oz https://openvalley.org/files/original/674045e3628805ad537847f76ef1754b.jpeg 0bdc0be1f9ee6957a19d316827133193 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 3.25 x 10.75 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 The Pickerel (Lucius reticulatus. Le Sueur) from the Upper Hudson River Creator An entity primarily responsible for making the resource Denton, Sherman F. Publisher An entity responsible for making the resource available Commission of Fisheries, Game, and Forests, State of New York Date A point or period of time associated with an event in the lifecycle of the resource 1896 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://babel.hathitrust.org/cgi/pt?id=hvd.32044106352289;view=2up;seq=4" target="_blank" rel="noopener">First Annual report of the Commissioners of Fisheries, Game and Forests of the State of New York </a>( Wynkoop Hallenbeck Crawford Co., Printers, 1896): following p. 124. Format The file format, physical medium, or dimensions of the resource jpeg, 190 KB Type The nature or genre of the resource Still image Description An account of the resource Illustration is one of several intended to clarify for fishermen the difference between pike, pickerel, pike-perch, and muscalonge. From a contemporary perspective, however, what's striking is the serenity with which species were cultured and introduced into new habitats. We learn that the state hatches 3 million muscalonge annually in Chautauqua Lake, and that the pickerel depicted here was introduced into the Upper Hudson river in 1885. Fish Hudson River Pickerel Watersheds