31 10 1402 https://openvalley.org/files/original/df52929df6867861cdc91be0fbb823ac.jpg 34d234d7cd84e60c7aa95de10cdfd820 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 Sheet music cover 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 "Dawn of the Century" March & Two-Step, sheet music cover Description An account of the resource Cover artwork shows allegorical woman holding a standard identifying her as "XXth Century". She has an electric light bulb atop her head and stands on a winged wheel, representing Progress. Around her are examples of modern technology and invention, including a typewriter, telegraph key, electric streetcar, dynamo, engine, telephone, sewing machine, camera, printing press, locomotive, and "horseless carriage" type automobile. Creator An entity primarily responsible for making the resource E.T. Paull Music Co. 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 Source A related resource from which the described resource is derived Wikimedia Commons Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Networks Sheffield Peabody technology telephone https://openvalley.org/files/original/5cfcb666fed71b1eb204f70fdc1b5908.jpg d2ace026d84ff2344a76b8c0e610f2a1 https://openvalley.org/files/original/0d0b2124bb0add584373c73f54617271.JPG 9edc3f32c39797b4dc48a4e477949906 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 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 White Flowers Creator An entity primarily responsible for making the resource Earl, Godwin, 1860?-1944 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) Bangsil, Kristopher (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 #FA18146 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 11.8 MB Type The nature or genre of the resource Still image Description An account of the resource The subject of this painting is a vase of white flowers. The flowers themselves are large and take up a significant portion of the area, but are balanced out by a multicolored vase underneath. The vase seems to have the pattern of some sort of animal in a variety of colors. The background is beige and displays some shadows, indicating curvature or a corner. The flower and its vase are the only subjects in this painting. About the Artist: There is some contradictory information about this NDG artist, including the Federal Art Project listing his paintings as “Earl Godwin”—perhaps the confusion due to a prominent journalist having that name. Godwin Earl was teaching at the Los Angeles Art Institute as of 1928. For the 1930 census, in Los Angeles, Earl gave his birthdate as 1865 and his birthplace as Argentina; for the 1940 census, in New York, he gave his birthdate as 1860 and birthplace as New York. The 1860 birthdate seems more likely, since in 1941 he penned an epigram entitled “I’m Over Eighty”: “I am very tender hearted, so / I want to gently drop,  / Into a vat of boiling oil, / The pest who calls me ‘Pop’ ” (New York Sun 11 Feb. 1941: 84). Everything that is known about Earl points toward a talented but curmudgeonly painter struggling amidst the Great Depression, in part due to his conservative standards of what constituted art. In response to MoMA’s plan to bring art supplies to soldiers in camps, Earl called it “another futile attempt to make people believe that art is something one can produce after a few days’ practice, as one would learn to whitewash the garden fence at home.” He instead argued for rigorous training (Godwin Earl,<a href="http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201942%20%20Grayscale/New%20York%20NY%20Sun%201942%20%20Grayscale%20-%200398.pdf" target="_blank" rel="noopener"> “Dark View of Art,”</a> letter to editor, New York Sun 22 April 1942: 20). 11 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-40" target="_blank" rel="noopener"> FAP</a>. Identifier An unambiguous reference to the resource within a given context 056 Federal Art Project Godwin Earl New Deal Gallery painting still life https://openvalley.org/files/original/dd8eefb8fc321e2cdd7b8e53ac64ca13.jpg b0bef42d368f3ac845eedd054be2289b https://openvalley.org/files/original/af7b2d0bbe9af88997372c2ae793d9eb.JPG b04a0366917a5b6caa517d06aa2a9263 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 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 Sea Bass Creator An entity primarily responsible for making the resource Earl, Godwin, 1860?-1944 Publisher An entity responsible for making the resource available Federal Art Gallery 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) Format The file format, physical medium, or dimensions of the resource jpeg, 782 KB jpeg, 12.3 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18161 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 071 Description An account of the resource One of the more challenging still lifes you'll see, Earl strips down his painting to three primary objects: a cermanic casserole, two lemons, and the eponymous sea bass. Perhaps a third of his composition is given over to an unadorned countertop. If this were cuisine, the message would be: if you have good fish, don't adorn it unnecessarily. Perhaps Earl conceived of his shimmering bass in a similar manner. About the Artist: There is some contradictory information about this NDG artist, including the Federal Art Project listing his paintings as “Earl Godwin”—perhaps the confusion due to a prominent journalist having that name. Godwin Earl was teaching at the Los Angeles Art Institute as of 1928. For the 1930 census, in Los Angeles, Earl gave his birthdate as 1865 and his birthplace as Argentina; for the 1940 census, in New York, he gave his birthdate as 1860 and birthplace as New York. The 1860 birthdate seems more likely, since in 1941 he penned an epigram entitled “I’m Over Eighty”: “I am very tender hearted, so / I want to gently drop,  / Into a vat of boiling oil, / The pest who calls me ‘Pop’ ” (New York Sun 11 Feb. 1941: 84). Everything that is known about Earl points toward a talented but curmudgeonly painter struggling amidst the Great Depression, in part due to his conservative standards of what constituted art. In response to MoMA’s plan to bring art supplies to soldiers in camps, Earl called it “another futile attempt to make people believe that art is something one can produce after a few days’ practice, as one would learn to whitewash the garden fence at home.” He instead argued for rigorous training (Godwin Earl, <a href="http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201942%20%20Grayscale/New%20York%20NY%20Sun%201942%20%20Grayscale%20-%200398.pdf" target="_blank" rel="noopener">“Dark View of Art,”</a> letter to editor, New York Sun 22 April 1942: 20). 11 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-40" target="_blank" rel="noopener">FAP</a>. Federal Art Project Godwin Earl New Deal Gallery painting https://openvalley.org/files/original/cd241b50dc3fe022ed898261dc982e4e.jpg 48cf5fa62ea5eb503fbc7e42892d065a https://openvalley.org/files/original/5e2364f13f2f45d05f1f6f022f0ca12f.jpg c74fead5865a212b8ec08f39370b4523 https://openvalley.org/files/original/b8a7f1a05fd2374f9089e14e5e1f4bfb.jpg 1cff5d54866566ed26eba545946b2ba9 https://openvalley.org/files/original/d349a795d7fe52284baaffed43668fa7.jpg 54729dede75ac6934bf74d599be67d4f https://openvalley.org/files/original/5599a6aebcbb317bdd420d5fceef3554.jpg 834c04c7961dc9c1d8722ecb0a7abb5c https://openvalley.org/files/original/0c9eb3a9453c22a2540325bc74b41c61.jpg 7bb68c7b7d9f84eaaf94774a9b4da55e https://openvalley.org/files/original/ed85f413f34ee76caced53c9f07a93fa.jpg 4270902a93c126f063b96d7117327fc0 https://openvalley.org/files/original/a9567053b35e80ab25eee7fec7fc9b28.jpg 65354fcafc2311ab049d20ee50dd45dc https://openvalley.org/files/original/4416fe28c45c66be33d2c26a0f375e54.jpg 2695ed92ebbc6a70537b8581a3e70597 https://openvalley.org/files/original/10ed7e139ca6fd5292dfeeb16e08b610.jpg e9e57931b281a7a21df47fe1e8d3f343 https://openvalley.org/files/original/e12f6e33bb8a2622e56e47e422fca9c5.jpg 8b79b8631f27be244a532ed2a3348bfe Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 8 x 10 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 Picture-taking in Letchworth State Park Description An account of the resource Part of Kodak's "picture-taking spot" series, tourist map identifies twenty scenic viewpoints for visitors, each of which was marked with an on-site marker. Often, there are explicit instructions as to composition: "When you photograph falls, include bridge in foreground. Ask friends or family to stand on bridge." This item consists of the two sides of brochure, along with separate files for nine photographs appearing therein. Date A point or period of time associated with an event in the lifecycle of the resource 1967-08 Contributor An entity responsible for making contributions to the resource Rounding, Jessica Foley, William Source A related resource from which the described resource is derived Courtesy William Pryor Letchworth Museum Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 769 KB jpeg, 206 KB jpeg, 569 KB jpeg, 126 KB jpeg, 137 KB jpeg, 160 KB jpeg, 174 KB jpeg, 121 KB jpeg, 87 KB jpeg, 178 KB Type The nature or genre of the resource Tourist map Creator An entity primarily responsible for making the resource Eastman Kodak Company Kodak Map Viewpoints William Pryor Letchworth https://openvalley.org/files/original/295b7a3c37d978a7b30e7a2f5e79c85b.jpg ffb01de6ec6826089892bc216fd5c4e6 https://openvalley.org/files/original/ba4dd591e1f4b1f229e3fa8a333b4514.jpg ced1e240c853a43f2560a4520e3d8bd6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map and photo from published report 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 Genesee Valley Wildlife Management Area Creator An entity primarily responsible for making the resource Ecker, Greg C. Kindt, Justin R. Brown, Nicolas C. Rende, Emilio E. Publisher An entity responsible for making the resource available NY Department of Environmental Conservation, Division of Fish and Wildlife Date A point or period of time associated with an event in the lifecycle of the resource 2022-03-18 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://extapps.dec.ny.gov/docs/wildlife_pdf/yfigenvalleyhmp.pdf" target="_blank" rel="noopener">New York DEC, Habitat Management Plan for Genesee Valley Wildlife Management Area, 2022 – 2031 (2022)</a> Description An account of the resource In the late 1990s Gary Russell, who had inherited a 771-acre plot of land along the Genesee River in Allegany County, reached out to the Nature Conservancy about putting it into a forever-wild trust. He and his brothers had floated along its waters, his mother had planted a Christmas tree farm, and his father hunted on the land. "The river was always changing," he recalled; "It was a really interesting place." Between 2001-2007 he made a series of gifts that ceded management of the land to the NY Department of Environmental Conservation (DEC). What has been designated as the Genesee Valley Wildlife Management Area pursues a goal of biodiversity. Interestingly, Russell's career took him to the Goddard Institute for Space Studies, where his research focuses upon computer modelling of Earth's atmosphere. "Even though I work on climate change," he said, "I feel that climate change is not the most serious threat to human beings on planet." Instead, he suggested that the loss of habitat and biodiversity was even more serious. The map shown here suggests a variety of differing habitats in even this smaller area of land. At the time of Russell's bequest, the regional DEC manager acknowledged that "It's not anything that's going to draw people like Letchworth or some other pieces of state land"--and this may be one of its best ecological features. Source Consulted: Steve Orr, "Gift Opens 771 Acres on Genesee," Rochester Democrat & Chronicle 1 Sept. 2009: 1+ Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 979 KB Type The nature or genre of the resource Still images Biodiversity Genesee River New York Department of Environmental Conservation https://openvalley.org/files/original/ef4a7a51b1a487f2f6901ed60b2820cc.jpg 224993e8eb82d44b50c684ec0f704860 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Rock Salt Photo Description An account of the resource A photo of the present day salt processing plant, owned by American Rock Salt company. Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Auld, Mary Publisher An entity responsible for making the resource available Wikimedia Commonsa Creator An entity primarily responsible for making the resource Edoderoo Source A related resource from which the described resource is derived Wikimedia Commons Format The file format, physical medium, or dimensions of the resource jpeg, 846 KB Type The nature or genre of the resource Photograph American Rock Salt Mount Morris, NY Salt Mines https://openvalley.org/files/original/80357356734f5fee20b79ed3cb0c76e0.jpg 8703776a0e1f763e19f20c9ac7947355 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data photograph Physical Dimensions The actual physical size of the original image 4320x3240 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Efraimstochter Title A name given to the resource Bottle in Water Publisher An entity responsible for making the resource available Pixabay Description An account of the resource Orange soda pastic bottle floating in a body of water. Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-31 Source A related resource from which the described resource is derived https://pixabay.com/photos/pollution-garbage-thrown-away-waste-359017/ https://openvalley.org/files/original/39f515ac30d6401d36a138ba468815c2.jpg 78236d1c7feeff6c0232df56c7a0dafe https://openvalley.org/files/original/3358b04d25fae9c46fe0c298b22fcd8c.JPG 0426584f495d5ddd07b211314666eaaf 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 Etching Physical Dimensions The actual physical size of the original image 6 x 8 in. Condition: surface dirt on glass 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 Preaching to the Birds Description An account of the resource This work displays a man suspended off the ground, surrounded by a variety of birds. The man himself looks to be St. Francis. The birds surrounding him are varied, with different species and sizes. The etching is darkly colored, primarily using blacks and whites. Behind the subject, the background is almost entirely black. Elements of circular halos can be seen surrounding the man, and rays of light are emanating from his head. About the Artist: Born in Cologne, Germany to a Jewish family, Eichenberg moved to Berlin where he worked ten years for Ullstein Publications, one of the country’s largest publishers. He fled to New York in 1933 amidst the rise of Nazism. One of Eichenberg’s first jobs in the US was creating illustrations for The Nation and he taught art lessons at The New School for five years; later, he founded the Pratt Center for Contemporary Printmaking. Recalling this challenging decade, Eichberg spoke fondly of WPA support for artists like him: “I went there with a few of my wooden engravings, or prints and asked him what I could do. It was just as simple as that. He said, ‘Oh, this is marvelous work. Go ahead and do what you want to do.’ It was that simple. There were no strings attached to it... I got box wood, which is very hard to get—the WPA had kind of a supply room and everything we needed. You had to say what you needed, and you got it. They bought the tools. They bought the gravers and they sharpened the gravers and you took your material home with you. You just picked it up there—beautiful wood blocks, any size” (<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12479#transcript" target="_blank" rel="noopener">Oral History Interview</a>). Eichenberg became a sought-after illustrator for more than a hundred books—Poe, Dostoyevsky, Turgenev, Swift, the Brontës, numerous children’s stories—but he was especially moved by a request to create prints for Dorthy Day’s Catholic Worker magazine: “She said she had seen clippings of my work in the hovels of coal miners and so on, people in all parts of the world; people who could not read the Catholic Worker but they understood my very simple images of saints and portraits of people important in the Catholic worker movement.” Eichenberg was a witty commentator on current affairs; his print at the NDG references both St. Francis’s sermon to the birds and the pretensions of high-altitude balloon flights during the 1930s, like those undertaken at the<a href="https://archive.org/details/1933-08-07_Stratosphere_Balloon_Falls" target="_blank" rel="noopener"> Century of Progress</a> in 1933. In later life he contributed talks, essays, and books on his medium, including The Art of the Print (1976) and The Wood and the Engraver  (1977). Oral history interviews in<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12479#transcript" target="_blank" rel="noopener"> 1964</a> and<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12736#transcript" target="_blank" rel="noopener"> 1979</a>. 12 works at the<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Eichenberg,%20Fritz$Fritz%20Eichenberg" target="_blank" rel="noopener"> Metropolitan Museum of Art</a>. 19 works at<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Eichenberg,%20Fritz$Fritz%20Eichenberg" target="_blank" rel="noopener"> Smithsonian Museum of American Art</a>. 105 works at<a href="https://www.harvardartmuseums.org/collections/person/31913?person=31913" target="_blank" rel="noopener"> Harvard Art Museum</a>. 9 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-44" target="_blank" rel="noopener"> FAP</a>, including companions to his lithograph at NDG: “Preaching to the Animals,” “Preaching to the Fishes.” Creator An entity primarily responsible for making the resource Eichenberg, Fritz, 1901-1990 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) Bangsil, Kristopher (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 #FA18147 Format The file format, physical medium, or dimensions of the resource jpeg, 896 KB jpeg, 7.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 057 Etching Federal Art Project Fritz Eichenberg New Deal Gallery https://openvalley.org/files/original/f102dcc31b9e61c953a531da60c072bf.jpg 76bd63ece46ddd47945655076aa55808 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 Image: 27.5 x 20.5 in. Frame: 35 x 28 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 Mending Nets Creator An entity primarily responsible for making the resource Emerson, Sybil Davis (1892-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (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 1504 Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.2 MB Description An account of the resource A group of men works together, repairing at least two nets used to catch fish. All the men in this painting are either bent over or facing away from the viewer. Very little individual detail is shown. It seems that the fishermen are in a rural area—although given Emerson’s life experiences, that might be coastal Massachusetts; Normandy, France; or Long Island, NY. There is only one building in sight, which looks to be a work shed most likely where the nets are stored. The men are all in a similar type of clothing; nothing in their body language tells us whether they are happy or upset at what they’re doing. It’s what must be done, a boring task but one that allows them to survive. It may be the only thing that allows them to do so. Emerson opens up a lot of space to be shown in this painting, displaying the isolation many rural Americans felt and how far away they were physically from receiving any immediate help. Only a telephone or telegraph line, strung along unmilled tree trunks, hints at any connection beyond their locale. The stark topography and Emerson’s narrow range of browns and green implies that they have no one else to rely upon but themselves. About the Artist Sybil Davis Emerson was a painter, sculptor, muralist, fabric artist, and teacher, born in Worcester, Massachusetts on April 4th, 1892. In 1910 she graduated from Ohio State University and later she studied at the Art Students League in New York and Academie Falguière. For a time she lived in California, where she was working as a teacher at Lowell High School and an artist. She exhibited at the San Francisco Art Association in 1924, winning 1st place. Meanwhile, she developed project ideas for art teachers (<a href="https://archive.org/details/sim_school-arts_1920-09_20_1/page/42/mode/1up">1</a>, <a href="https://archive.org/details/sim_school-arts_1921-11_21_3/page/n54/mode/1up">2</a>, <a href="https://archive.org/details/sim_school-arts_1922-05_21_9/page/n35/mode/2up">3</a>) while contributing <a href="https://archive.org/details/new-justice_1919-11_1_16/page/7/mode/1up">political cartoons</a> to the socialist monthly New Justice. In the 1930s Emerson moved to New York where she exhibited at the Midtown Galleries and the Morton Gallery. It was during this time that she wrote and illustrated the children’s books <a href="https://babel.hathitrust.org/cgi/pt?id=umn.31951000782335b&seq=10">Jaques at the Window</a> (1936) and <a href="https://archive.org/details/pigeonhouseinn0000sybi/mode/1up">Pigeon House Inn</a> (1939), drawing upon her summers spent in Normandy as a child and murals that she later created in classrooms there. In 1942 Emerson was hired by the Pennsylvania State College (today, a university) as a professor of art education and home economics. As a woman artist, she grappled with the contradictions implied by that job title and recognized that amidst reconstruction after WWII “there is grave danger of overemphasis of the mechanical aspects of education and a need for greater consideration of the spiritual development of our young people” (“Problems”). Emerson went on to write and illustrate a well-regarded textbook titled <a href="https://archive.org/details/designcreativeap0000emer/page/n7/mode/1up">Design: A Creative Approach</a> (1953). Emerson later moved back to California where she taught summer courses at the University of Southern California and at the California College of Arts & Crafts in Oakland, California. Throughout her life she exhibited at numerous galleries and museums in San Francisco, Los Angeles, Albany, Philadelphia, New York and Chicago. Emerson would later retire to McMinnville, Oregon in 1959 where she spent the remainder of her days until her death on September 15, 1980. 4 works at <a href="https://palmer.emuseum.com/people/1057/sybil-davis-emerson/objects">Palmer Museum of Art</a>. 15 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-50">FAP</a>. Works Consulted: “Sybil Davis Emerson,” Traditional Fine Arts Organization <a href="https://tfaoi.org/cm/10cm/10cm115.pdf">Link</a>; Sybil Emerson, short autobiography in Bertha E. Mahoney, et al., Illustrators of Children’s Books, 1744-1945 (1947): 306 <a href="https://archive.org/details/illustratorsofch0000horn/page/306/mode/1up">Link</a>; Sybil Emerson, “Problems in Teaching Art” (Journal of Home Economics Dec. 1945: 615-617) <a href="https://archive.org/details/sim_journal-of-family-and-consumer-sciences_1945-12_37_10/page/614/mode/1up">Link</a> Type The nature or genre of the resource Still image Federal Art Project fishermen New Deal Museum painting Sybil Davis Emerson Sybil Emerson https://openvalley.org/files/original/2751e1c3f17bf50e64efafca55b5be99.jpeg 539bf0f209d7418028f03360bc407299 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 47 x 61 cm. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Agricultural Map of the State of New York Description An account of the resource Divides the state of New York, as well as neighboring states of Connecticut, Massachusetts, New Hampshire and Vermont, into six distinct agricultural zones. Creator An entity primarily responsible for making the resource Emmons, E[benezer]., and G. & W. Endicott Date A point or period of time associated with an event in the lifecycle of the resource 1846 Source A related resource from which the described resource is derived Geographicus / Wikimedia Commons Format The file format, physical medium, or dimensions of the resource jpeg, 5.3 MB Type The nature or genre of the resource Map Agriculture Endicott, Ebenezer Map New York