34 10 1402 https://openvalley.org/files/original/931a092d5b8ebe3ac5e81743af396786.jpg 673bf791f59fec66d81fd2630068413f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of 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 Triumphal Arch Format The file format, physical medium, or dimensions of the resource jpeg, 471 KB Description An account of the resource Also known as the Vermont Centennial Arch, it was designed by William C. Bull to celebrate Vermont's statehood in 1791. It was built of wood and covered with canvas painted to replicate the stones of its better-known and more permant <a href="https://en.wikipedia.org/wiki/Bennington_Battle_Monument" target="_blank" rel="noopener">Battle Monument,</a> likewise dedicated in 1891. At a ceremony attended by President Benjamin Harrison, 75 young men and women sang patriotic songs from atop the arch. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff immigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon" target="_blank" rel="noopener">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467" target="_blank" rel="noopener">Federal Art Project, Photographic Division Collection, Box 7, Folder 13</a> Type The nature or genre of the resource Still image Bennington Battle Monument Bennington Centenniel Arch Federal Art Project painting Simon Ivan Fidaroff https://openvalley.org/files/original/f93aa6c913e3b76aedad3f5da257bac3.jpg 5191e01e853da64c374a98e7b1892dad 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 Exotic foods from Alessandro Filippini's cookbook "The Table" Description An account of the resource The famed chef from New York city's Delmonico's restaurant showcases the unusual ingredients and cuisines favored by America's Gilded Age diners Creator An entity primarily responsible for making the resource Filippini, Alessandro Publisher An entity responsible for making the resource available Charles L. Webster, publisher Date A point or period of time associated with an event in the lifecycle of the resource 1889 Contributor An entity responsible for making contributions to the resource Stewart, Gregory Source A related resource from which the described resource is derived Wadsworth family private collection Format The file format, physical medium, or dimensions of the resource jpeg, 4.2 MB cookbook Filippini foods wadsworth https://openvalley.org/files/original/5a3b16e848cd52caede5370c30d88f03.pdf adbc7ec0896d567246d44fd2cc1a610d https://openvalley.org/files/original/fa35298946c4d92aeb6e2c6f996f4a9d.png 2fd0f195e6dd1b0d5edab730463117f3 https://openvalley.org/files/original/7a93027162d1d52ee28f0613be678882.png c545e7de7d793e242492fa50f8dabc0e https://openvalley.org/files/original/2b3ed2972d57aec80f16a3666a291a2b.png a4268a6ca2362085e298c35f75264abe https://openvalley.org/files/original/c55242e62fded09e82fc4243e72ae00e.png 59cd6eb2dfd93dcee18d8044fa48583e https://openvalley.org/files/original/bb70217d85e540f3fb14c387dabaec3e.png 24a3e2463081fb88bec1bac3929cb35f https://openvalley.org/files/original/5753be279701d3967ae0d1a73aec7eb3.png ad7e985060c11086b796c800756a02d2 https://openvalley.org/files/original/887edc92bea8dda1b71629a6eba268c2.png 40c45dde58289b319336aa7a24f8ba20 https://openvalley.org/files/original/af978a77c39b27bb4ae1edc6fd211fe7.png 685db7c2b21553ca39d82a611c38d42c https://openvalley.org/files/original/776af613241ce230581a5cd2976c2704.png 79380191b61373c82d7b96205475283d https://openvalley.org/files/original/da623213852f3bfab2d032276eb0bb11.png b2fec9672b2f0dc9cd99576a63e0c744 https://openvalley.org/files/original/c469d85b8a3b61e9ffb2f3cc9482963c.png 824314f3ceb410f3b815a04c86c82fd4 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 Diary 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 Diary of Alida K. Fitzhugh Description An account of the resource Alida K. Fitzhugh chronicles her time during the historic Genesee Valley Hunt from the fall of 1891-1893. She talks about multiple taverns, trails, and scenic locations in the valley and her positive experiences as she rode horses, jumped fences, and sought adventure. Creator An entity primarily responsible for making the resource Fitzhugh, Alida Date A point or period of time associated with an event in the lifecycle of the resource 1891-1893 Contributor An entity responsible for making contributions to the resource Kahn, Danielle Format The file format, physical medium, or dimensions of the resource pdf, 10 MB; png, 167 KB; png, 57.7; png, 159 KB; png, 248 KB; png, 192 KB; png, 80.2 KB; png, 141 KB; png, 346 KB; png, 423 KB; png, 510 KB; png, 648 KB Type The nature or genre of the resource Diary Diary Geneseo Underground Atlas https://openvalley.org/files/original/6280689a05b6a01ca00e92c02dd01b6a.jpg f4b66daf5ae4db62f4deb160e6e4db43 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 Silkscreen poster, via color film copy slide 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 exhibition at Federal Art Project Gallery, New York Format The file format, physical medium, or dimensions of the resource jpeg, 406 KB Creator An entity primarily responsible for making the resource Floethe, Richard, 1901-1988 Publisher An entity responsible for making the resource available Federal Art Project Description An account of the resource This poster was created by the Richard Floethe, Director of the Federal Art Project's NYC Poster Division. His training at the modernist Bauhaus in Germany shows its influence in stylized illustration and bold, simple lettering. The Federal Art Project Gallery, which opened on 27 December 1935, was a frequent venue for painters in the program. Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Library of Congress, Prints & Photographs Division, WPA Poster Collection, <a href="https://lccn.loc.gov/98513588" target="_blank" rel="noopener">LC-USZC2-959</a> Type The nature or genre of the resource Still image Federal Art Project Federal Art Project Gallery Poster Poster Division https://openvalley.org/files/original/9d64e97ae9a849292caece2fd2138f03.jpg d2741992feb1293f366feb478f95b7af 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 Mural painting on canva Physical Dimensions The actual physical size of the original image 14 1/2 x 7 1/2 ft. 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 Wealth of the Nation Creator An entity primarily responsible for making the resource Fogel, Seymour (1911 - 1984) 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 Cooper, Ken Source A related resource from which the described resource is derived Photo courtesy Voice of America, via <a href="https://commons.wikimedia.org/wiki/File:The_Wealth_of_the_Nation,_Seymour_Fogel.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 429 KB Publisher An entity responsible for making the resource available Treasury Section of Fine Arts, Treasury Department Type The nature or genre of the resource Still image Description An account of the resource This mural was one of two painted in 1938 for a new building slated to be the Social Security Administration, in Washington, DC. The two make a case for the benefits of a social safety net and coordinated management of the US economy. "Wealth of Nations" shows a scientist, architect, and three factory workers against a planar, modernisti backdrop of industrial utopianism. The companion mural, <a href="https://en.wikipedia.org/wiki/Seymour_Fogel#/media/File:Mural_%22The_Security_of_the_People%22_by_Seymour_Fogel_located_in_the_Wilbur_J._Cohen_Federal_Building,_Washington,_D.C_LCCN2013634371.tif" target="_blank" rel="noopener">The Security of the People</a> (1938) depicts the domestic benefits of a planned economy: adequate food, healthy children, the luxury of education and personal development. It's here that a woman makes an appearance in the mural, as a mother. The two murals were installed in 1940, although without the intended tenant; a series of federal agencies has occupied the Wilbur J. Cohen Building, currently the subject of dispute amid proposals to sell off the property and its famous murals. Works Consulted: history of Fogel murals at the Cohen Building by Living New Deal <a href="https://livingnewdeal.org/sites/wilbur-j-cohen-building-fogel-murals-washington-dc/" target="_blank" rel="noopener">Link</a>; biography of Seymour Fogel at Wikipedia <a href="https://en.wikipedia.org/wiki/Seymour_Fogel" target="_blank" rel="noopener">Link</a> Mural New Deal Seymour Fogel Social Security https://openvalley.org/files/original/6a9ff0853320f59e87d4063fb9465020.docx 96c55a1e0d4b5be77a5b95e3810f0e3a Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document MARION: Well, but since Michael had said that he was interested in people growing up in Geneseo and knowing more about this, as I say I wasn’t here in the early years, so, I really can’t speak to that but I’ll go on with what I had. The Bailey Science Building, I don’t know if you knew, that’s where all the Biology was. Alright, in the Bailey Science Building it took hours to set up lab exams, setting out specimens for identification, you would have a pin or something pointing to the- have either one of you taken Biology? PAMELA: Yeah, I’ve done that. MARION: Alright. Well, anyway, it took a long time to set up these labs and that, hours. So the students were told the only excuse for missing a lab exam was to bring in a newspaper, published obituary of a grandmother’s death. [. . .] He wanted to impress on them, you know, gotta be something really serious, ya know, if you missed this test, so, that stuck in my mind that he’s telling me that he told the students that. [. . .] Okay, my husband maintained, in the basement of Bailey, a vivarium, that’s a living amphibians and reptile collection used for teaching and demonstration. He had snakes, salamanders, frogs, toads, turtles, and lizards were some of the animals. Many hours were required to feed, water, and clean the animal cages including time spent on Saturdays and Sundays. An injured owl was a resident until it recovered and was returned to the wild. Not only college students but grade-school students benefitted. Another time, my husband left the Thanksgiving table to help a student pick up a road-kill deer for the paragon falcon he was studying and taking care of. My husband spent many evenings past midnight pounding away on his manual Underwood typewriter typing lectures for herpetology, mammalogy, zoology, conservation of natural resources, botany, and ornithology classes. Field trips for the ornithology took place at 4:30 am when the birds were up. Now, there were some students who didn’t bother going to sleep at all, they just stayed up all night and thought that was an easier thing! DEBRA: Oh, I was just wondering if you went on many field trips to different places. MARION: So, yes, he did, he was a fishery biologist before he went into teaching so he took some of the students on trips where they would identify certain fish and that. And then as I say his big interest was in snakes and there was a place near Honeoye Lake where there was some poison snakes, but it was on private land and he had to get permission to take his students there and they all wore hip-boots and that. So he had a couple trips there and then in Letchworth, the park doesn’t like to, you know, talk about it, but there is an area over there where there were some poisonous snakes so he had some- but it’s not near the camping area or any place where people are gonna be wandering and that. 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 Interview of Marion Roecker Description An account of the resource Marion Roecker shares biology classes were like in Geneseo when she attended with SUNY Geneseo’s organization “Heard @ Geneseo.” She also talks about her husband and how her husband worked in the Bailey Science Building and that he would take students on field trips. The oral interview was taken and transcribed by Debra Ford and Pamela Vesely, and it was later revised by Megan Wong and Jordan Keane. Creator An entity primarily responsible for making the resource Ford, Debra; Vesely, Pamela Date A point or period of time associated with an event in the lifecycle of the resource 2011-10-18 Contributor An entity responsible for making contributions to the resource Roecker, Marion; Wong, Megan; Keane, Jordan Format The file format, physical medium, or dimensions of the resource doc, 28.9 KB Type The nature or genre of the resource Interview Geneseo Interview Underground Atlas https://openvalley.org/files/original/74e0d9a762f2797eb0727219534bb284.JPG 9dabb0176ec8a02a0be17b04a1d5474c https://openvalley.org/files/original/32d72e8ee32d85df138044a85e0b3c9f.JPG 8a5024579cfb1efd8fd88fba324b277c 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 Watercolor painting Physical Dimensions The actual physical size of the original image 12.5 x 20.75 in. Condition: watermarks, paper buckling, colors slightly faded 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 Lilies and Crystal Format The file format, physical medium, or dimensions of the resource jpeg, 941 KB jpeg, 11.4 MB Description An account of the resource A single lily stem displays two blossoms, with the promise of a third; their colors and shapes run extravagently in all directions. Holding the lily is a crystal vase with a mesmerizing, flame-like pattern. Through its facets we see the lily’s green but also a range of colors drawn from the surrounding wall or atmospheric light. About the Artist: Born in Norfolk, VA, Frank spent her early years in Wyoming because her father was a sheep rancher. Perhaps hyperbolically, she recalled that “The sheep froze, and Indians raided the town. I remember seeing Indians over in the hills” (citation). Her family moved to New York in 1913, where Frank studied at the Cooper Union, the Arts Students League, and privately with <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>.  She was a founding member of the New York Society of Women Artists (founded 1925). Expressionist. In 1927 she married artist Ralph Mayer, a specialist in painting materials who published <a href="https://archive.org/details/painterscraftint00maye" target="_blank" rel="noopener">The Painter’s Craft</a>. A lot of information on her, some of it biographical. Signs a declaration published in NYT 26 June 1962 (Cuban Missile Crisis?) on “the certainty of damage through testing and the imminence of catastrophe through miscalculation. We ask, in the name of our posterity, in the name of the unborn generations and of works yet unborn, that the current tests be stopped, never to be resumed” (p. 1). Her watercolor “Salt” appeared in a 1938 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Herman Copen, and Thomas Nagai also appeared. The Brooklyn Museum (1930), 1 work at <a href="https://www.nga.gov/collection/art-object-page.19336.html" target="_blank" rel="noopener">Index of American Design</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-32" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Frank, Bena Virginia, 1898-1991 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 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 #FA18157 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 067 Bena Virginia Frank Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/229411d171e4e8fc1291a18a5763407a.JPG b6babffdc23cfa91bec1a6d2a12d887e https://openvalley.org/files/original/f03a9f98134ff5fa3a08ffaac70cee4c.JPG a34322448cd2e039a8fde11a68635196 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 Watercolor painting Physical Dimensions The actual physical size of the original image 18 x 27 in. Condition: paper rippled 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 in a Window Format The file format, physical medium, or dimensions of the resource jpeg, 872 KB jpeg, 10.6 MB Description An account of the resource This painting appears to be a collection of familiar domestic objects: a bowl of fruit and a plant rest upon a deep window sill; another plant is visible outdoors. But is everything in its place? Here, plants on either side of a glass window or glass serving dish point sharply in all directions. Fossil-fueled heat from a radiator is another material connection across the boundaries of inside and outside. About the Artist: Born in Norfolk, VA, Frank spent her early years in Wyoming because her father was a sheep rancher. Perhaps hyperbolically, she recalled that “The sheep froze, and Indians raided the town. I remember seeing Indians over in the hills” (citation). Her family moved to New York in 1913, where Frank studied at the Cooper Union, the Arts Students League, and privately with <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>.  She was a founding member of the New York Society of Women Artists (founded 1925). Expressionist. In 1927 she married artist Ralph Mayer, a specialist in painting materials who published <a href="https://archive.org/details/painterscraftint00maye" target="_blank" rel="noopener">The Painter’s Craft</a>. A lot of information on her, some of it biographical. Signs a declaration published in NYT 26 June 1962 (Cuban Missile Crisis?) on “the certainty of damage through testing and the imminence of catastrophe through miscalculation. We ask, in the name of our posterity, in the name of the unborn generations and of works yet unborn, that the current tests be stopped, never to be resumed” (p. 1). Her watercolor “Salt” appeared in a 1938 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Herman Copen, and Thomas Nagai also appeared. The Brooklyn Museum (1930), 1 work at <a href="https://www.nga.gov/collection/art-object-page.19336.html" target="_blank" rel="noopener">Index of American Design</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-32" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Frank, Bena Virginia, 1898-1991 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18158 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 068 Bena Virginia Frank Federal Art Project New Deal Gallery still life Watercolor https://openvalley.org/files/original/34e3d4e4c136dafbe32ae790409c2d24.jpg 3d2631a599e877a542be06e1a5fa76f9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glen Avon Mill, as it appears today Description An account of the resource Since the 1960s, the former Light Bros. then Glen Avon Mills has been a family residence Creator An entity primarily responsible for making the resource Freeman, Kyle Date A point or period of time associated with an event in the lifecycle of the resource 2014-12-10 Format The file format, physical medium, or dimensions of the resource jpeg, 54 KB Contributor An entity responsible for making contributions to the resource Freeman, Kyle Type The nature or genre of the resource Digital photograph Conesus Creek Glen Avon Mills Littleville, NY mills https://openvalley.org/files/original/3ba04169a3266c419e79f1bce5b75d5e.jpg 5b745165128bb87d6f51be4d28730210 https://openvalley.org/files/original/673aaf3270a7b07fb6dbd534b79eca28.jpg a9e7b390c3c9a97b2af466b13b7467c0 https://openvalley.org/files/original/b903daa6d38bcf1a22a7fdd3edd22a2f.jpg 72b43f4d62dd418eb4396bdc96ede283 https://openvalley.org/files/original/377534871700d74af8862ba175508686.jpg 672a00465869925a591068e6152ee731 https://openvalley.org/files/original/feb4800cde5b98c1fd8bfe3f4a62e024.jpg 82f720c5adbf2423037ae84441b19ef9 https://openvalley.org/files/original/414635ae56b9b725945a837ea77615c0.jpg f7a04ae0875115d911c30495a3383cfb https://openvalley.org/files/original/401dc78c8e5bb4a6013c2eb5511e8dcf.jpg 4e2e3de1ae13f83f87a31e27a1e28a0d https://openvalley.org/files/original/89de253dff47a572c492334d72834e3a.jpg 731ecf466d3ed58ceb3f6fb4667d21b0 https://openvalley.org/files/original/6f8be8bb09ca5bd14b0c25ebd4425341.jpg 34f940b88ded7b1db6f730896a2011cd https://openvalley.org/files/original/35d08fa069b029b7dc2d9f556b9ed229.jpg 681f7316cf062b8ca638f0cd081f4a67 https://openvalley.org/files/original/fc2199256fa42541c8c47da19c9786e9.jpg effd5d60e9009d8064d2b748a949a874 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 Physical Dimensions The actual physical size of the original image All images approx. 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 Drawings of Third Infantry Division, WWII Creator An entity primarily responsible for making the resource Gaige, Richard T[homas] (1907-1992) Source A related resource from which the described resource is derived Donald G. Taggart, History of the Third Infantry Division In World War II (Infantry Journal Press, 1947) National Security Internet Archive, via Internet Archive Description An account of the resource Richard Gaige grew up in Binghamton, NY, studied art at Syracuse University, then moved to New York City to pursue an career. Among other things he painted for the Federal Art Project; two of his works are at the New Deal Gallery. A year after enlisting in 1942 Gaige published Me and the Army, a collection of sketches whose faceless but sympathetically rendered soldiers resonated with the shared experience of enlisted men. It's likely he was invited to create this collection of illustrations based upon his earlier work. In Donald G. Taggart's history of the Third Infantry Division, an illustration appears immediately after the title page for each chapter. The images therefore correspond rougly to the following campaigns: 1. Preparation for War 2. Casablanca 3. North African Interlude 4. Sicily 5. Southern Italy 6. Anzio 7. The Push to Rome 8. Southern France 9. Through the Vosges 10. The Colmar Pocket 11. Germany Date A point or period of time associated with an event in the lifecycle of the resource 1947 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource 1. jpeg, 595, KB 2. jpeg, 554 KB 3. jpeg, 510 KB 4. jpeg, 544 KB 5. jpeg, 586 KB 6. jpeg, 707 KB 7. jpeg, 628 KB 8. jpeg, 513 KB 9. jpeg, 484 KB 10. jpeg, 559 KB 11. jpeg, 543 KB Type The nature or genre of the resource Still images New Deal Gallery Richard T. Gaige World War II