38 10 1402 https://openvalley.org/files/original/fd6eaee26f193f3bcda5014821b70abc.png 1f78e2a6ffb659a1871f6758b210277d 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 7 x 9 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Diagram of Ponds Description An account of the resource From Seth Green's 1870 manual "Trout Culture" comes this layout for a series of ponds designed to hatch trout Creator An entity primarily responsible for making the resource Green, Seth (1817-1888) Publisher An entity responsible for making the resource available Curtis, Morey & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1870 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Seth Green and A.S. Collins, "Trout Culture." Caledonia, NY: Curtis, Morey & Co., 1870, p. 14. Format The file format, physical medium, or dimensions of the resource jpeg, 400 KB Caledonia, NY Collins, A.S. pisciculture Seth Green trout https://openvalley.org/files/original/1abf2ba628a97ca3ce906047a3279133.jpg a45abb00295a5652f001749080625dfb 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 9 x 13 1/4 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 Haitian Mother and Baby Description An account of the resource This photograph showcases a Haitian pregnant woman holding another child. The child appears to be no older than 6 months old. The mother is seen to be wearing a nice white dress as well as hair curlers in her hair. The baby lays affectionately across the mother's lap. This photograph was taken in McCormick Camp on Hardy Road in Wyoming County. The photograph itself is 9 x 13 1/4 in black and white and is matted to a 16 x 20 board. Creator An entity primarily responsible for making the resource Greenlar Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Kershner, Natalie Format The file format, physical medium, or dimensions of the resource jpg, 1.8 MB Geneseo Geneseo Migrant Center McCormick Camp Migrant Children Migrant Mother Migrant Women migrant workers Migrants Mother Mother and Child Motherhood Pregnancy Wyoming County https://openvalley.org/files/original/884c2ddf765696b7bb262562a08961c8.jpg b028671db6f4860e3d811b0e4adc2784 https://openvalley.org/files/original/7b3129ed2930f74b2766a0d554e56767.jpg 7413a9b8195a99215c4b801aa760f774 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 11 3/4 x 9 1/2 in. Framed: 21 x 17 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 Storm Over Provincetown Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 467 KB Description An account of the resource This lithograph features a view of two small Provincetown homes, seemingly situated in a village, with a deep storm brewing overhead. Though not overtly noticeable, there is a man traipsing between the shacks on what appears to be a first road. This dirt road is one of the strongest lines in the lithograph, bending into the scene and drawing the viewer in. There is a strong contrast in the values of this piece: the faces of the homes are in full light, but their sides are cast into nearly full shadow. The clouds overhead are also very dark, which makes the scene even more ominous. The shapes in this piece are very clear in the form of the houses, but become more nondescript and chaotic in the clouds and ground. The piece feels slightly top-heavy in terms of balance, though even laterally. Noticing the small details in this piece creates a fuller sense of its story than what is available at first glance. The trees sway slightly, and the leaves are pulled horizontally, which implies high winds, and the juxtaposition of the small bolt of lightning next to the powerlines creates a subliminal sense of danger. There is also an emptiness beyond the lonesome man, which prompts the viewer to consider how everyone in this town, whom we cannot see, is faring in this storm. 11 images at <a href="https://art.gsa.gov/people/1415/john-worthington-gregory/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Gregory, John Worthington (1903 - 1992) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Hejaily, Monica (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1271 Type The nature or genre of the resource Still image Federal Art Project John Worthington Gregory lithograph New Deal Museum Provincetown, MA https://openvalley.org/files/original/e9fd2b5d842444e43592117c48e48217.jpg 105fe06043ed585c28c79adc938170a6 https://openvalley.org/files/original/733f7ea41c7fcf6ea5ce6ab4864d5d6f.jpg 3167b51c718af077bb73421f91dab6e5 https://openvalley.org/files/original/0078860292ea47fe198c670494099fd9.jpg bc2b8f230d1753dc560cbcc0a017e085 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 18 x 24 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 Indian Episodes of New York State, Land of the Hodenosaunee Description An account of the resource Profusely illustrated historical map of important Native American locations, persons, events, practices, and legends. Even the most catastrophic aspects of colonial contact, like the Sullivan Campaign of 1779 and the Buffalo Treaty of 1838, are folded into the map's picturesque aesthetic. Available both as a small and large file. Creator An entity primarily responsible for making the resource Gribbroek, Robert Parker, Arthur Caswell Henricks, Mrs. Walter Publisher An entity responsible for making the resource available Rochester Museum of Arts and Sciences Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 698 KB jpeg, 9 MB Type The nature or genre of the resource Map Haudenosaunee Map Romance Map Yonnondio https://openvalley.org/files/original/fe4294b570a25ff32bb6340266a11184.jpg 1b9ad44b22096a09e8ad3ae029b73d50 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 A Progressive Farm, 1880 Description An account of the resource "The radical error of the American system of farming," this handbook argues, is that "throughout the greater part of the country, the attention of farmers and planters has been almost exclusively devoted to the cultivation of a few staple articles" (iii). In tandem with with the handbook, frontispiece schematically illustrates the diversified revenues of a well-run farm: cattle, hogs, chickens, geese, ducks, and turkeys. We see a hard-working farmer plowing, and his hands bringing hay into the barn. Various farm implements are displayed, as well. Creator An entity primarily responsible for making the resource Griffin, A. B. (artist) F.W. O'Neill (author) H.L. Williams (author) Publisher An entity responsible for making the resource available R. Worthington Date A point or period of time associated with an event in the lifecycle of the resource 1880 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived F.W. O'Neill and H.L. Williams, The American Farmer's Hand-Book (New York: R.Worthington, 1880): ii. <a href="https://archive.org/details/americanfarmersh00onei/page/n9/mode/1up"></a><a href="https://archive.org/details/americanfarmersh00onei/page/n9/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 673 KB Type The nature or genre of the resource Still image https://openvalley.org/files/original/9dc84a66006decb9a4d1e34a129af19f.jpg cedcc2f17e0c62744385f60e7ad75def 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 24 x 36 in. Condition: surface dirt, peeling 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 Sunflowers Creator An entity primarily responsible for making the resource Gubin, Selma, 1903-1974 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 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 #FA18168 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 078 Description An account of the resource A riot of fourteen sunflower blossoms fills the borders of Gubin's composition, in hues of vivid red, orange, and yellow. Combined with their foliage, it takes an effort to locate the flower's container--a warm brown vase possibly incorporating a gourd into its design. The arrangement is set against the clapboard of a house's exterior, completing a vision of informal, everyday beauty. About the Artist: Born in Kiev, Russia, Gubin immigrated to the US in 1909. She studied art at Hunter College, the Art Students League, and New York University; her teachers included <a href="https://americanart.si.edu/artist/raphael-soyer-4566" target="_blank" rel="noopener">Raphael Soyer</a>, <a href="https://americanart.si.edu/artist/byron-browne-621" target="_blank" rel="noopener">Byron Brown</a>, and <a href="https://americanart.si.edu/artist/john-sloan-4476" target="_blank" rel="noopener">John Sloan</a>. Initially she supported herself as an office worker, but in 1933 managed to aquire a hot dog stand on Rockaway Beach that freed up time for her painting (Syracuse Post-Standard 24 Jan. 1973: 28). Gubin’s art was exhibited at the Muncipal Art Gallery (1938), ACA Gallery (1941), and the Woodstock Artists Association (1955). She was recognized with the F. W. Weber award by the National Association of Women Artists. Gubin often is mentioned as a teacher of art; along with private lessons, she managed the summer Timberline camp at Jewett, NY (a progressive hotbed <a href="https://archive.org/details/investigationofcny195305unit/page/1379" target="_blank" rel="noopener">later investigated</a> by the House Un-American Activities Committee). In later years she extended her classes to disadvantaged children: “When she wants to motivate them, Miss Gubin paints portraits of the youngsters, as they appear to her in class. Her happiest experience came when she brought a smile to a little girl’s face. ‘Why are you so sad?’ the artist asked her student. ‘My mother told me I was ugly, and mothers always tell the truth,’ explained the girl. Miss Gubin then painted a portrait of a pretty, smiling girl—with a flower in her hair” (Syracuse Post-Standard 11 Feb. 1974: 17). 2 works at <a href="https://americanart.si.edu/artist/selma-gubin-1978" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.harvardartmuseums.org/collections?q=selma+gubin" target="_blank" rel="noopener">Harvard Art Museum</a>. 1 work at <a href="http://museums.fivecolleges.edu/detail.php?museum=all&record=0&v=2&s=selma+gubin&type=all&t=objects&f=&d=" target="_blank" rel="noopener">Smith College Museum of Art</a>. 2 works at <a href="http://emuseum.delart.org:8080/emuseum/view/people/asitem/search@/0?t:state:flow=a29f2d1c-7a33-44c5-8ae4-3dfb0e1fc930" target="_blank" rel="noopener">Delaware Art Museum</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-39" target="_blank" rel="noopener">FAP</a>. Federal Art Project New Deal Gallery painting Selma Gubin https://openvalley.org/files/original/8d961aaf9f56d9d75f1f88b21ad74038.jpg 922eb15c84d9e795a0e0e1c17b62e7ce 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 Haverstraw Landscape Description An account of the resource According to the Federal Writers Project Guide to New York state, "Haverstraw...squats on the edge of the Hudson with its back propped against High Tor, Little Tor, and Pyngyp...Here James Wood discovered the modern system of burning brick and set up brickyards in the town...which at the peak included 40 brickyards, producing 326,000,000 brick annually" (605). We're probably looking at the remains of one such brickyard, piles of its product in the foreground. About the Artist: Born in Kiev, Russia, Gubin immigrated to the US in 1909. She studied art at Hunter College, the Art Students League, and New York University; her teachers included <a href="https://americanart.si.edu/artist/raphael-soyer-4566" target="_blank" rel="noopener">Raphael Soyer</a>, <a href="https://americanart.si.edu/artist/byron-browne-621" target="_blank" rel="noopener">Byron Brown</a>, and <a href="https://americanart.si.edu/artist/john-sloan-4476" target="_blank" rel="noopener">John Sloan</a>. Initially she supported herself as an office worker, but in 1933 managed to aquire a hot dog stand on Rockaway Beach that freed up time for her painting (Syracuse Post-Standard 24 Jan. 1973: 28). Gubin’s art was exhibited at the Muncipal Art Gallery (1938), ACA Gallery (1941), and the Woodstock Artists Association (1955). She was recognized with the F. W. Weber award by the National Association of Women Artists. Gubin often is mentioned as a teacher of art; along with private lessons, she managed the summer Timberline camp at Jewett, NY (a progressive hotbed <a href="https://archive.org/details/investigationofcny195305unit/page/1379" target="_blank" rel="noopener">later investigated</a> by the House Un-American Activities Committee). In later years she extended her classes to disadvantaged children: “When she wants to motivate them, Miss Gubin paints portraits of the youngsters, as they appear to her in class. Her happiest experience came when she brought a smile to a little girl’s face. ‘Why are you so sad?’ the artist asked her student. ‘My mother told me I was ugly, and mothers always tell the truth,’ explained the girl. Miss Gubin then painted a portrait of a pretty, smiling girl—with a flower in her hair” Syracuse Post-Standard 11 Feb. 1974: 17). 2 works at <a href="https://americanart.si.edu/artist/selma-gubin-1978" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.harvardartmuseums.org/collections?q=selma+gubin" target="_blank" rel="noopener">Harvard Art Museum</a>. 1 work at <a href="http://museums.fivecolleges.edu/detail.php?museum=all&record=0&v=2&s=selma+gubin&type=all&t=objects&f=&d=" target="_blank" rel="noopener">Smith College Museum of Art</a>. 2 works at <a href="http://emuseum.delart.org:8080/emuseum/view/people/asitem/search@/0?t:state:flow=a29f2d1c-7a33-44c5-8ae4-3dfb0e1fc930" target="_blank" rel="noopener">Delaware Art Museum</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-39" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Gubin, Selma, 1903-1974 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467" target="_blank" rel="noopener">Federal Art Project, Photographic Division, Box 9, Folder 39</a> Format The file format, physical medium, or dimensions of the resource jpeg, 394 KB Type The nature or genre of the resource Still image Brickyard Federal Art Project Haverstraw, NY painting Selma Gubin https://openvalley.org/files/original/b23f9dc0522164421fe2fd14d74e1e23.jpg 51d44e053e659f731ebe0b2af8ef53e6 https://openvalley.org/files/original/4e199f6df3ea9469f960d180213174ea.jpg b681c00e098b7941bb8bb0ae570a4a0f https://openvalley.org/files/original/9eb379b3650a140431339422553cc094.jpg 6ce497c8e04c2eb075dfd767e059faf6 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 Photographs 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 Photographs of Joseph Biel and Lena Gurr Description An account of the resource Joseph Biel (1891-1943) was a Jewish immigrant who had witness the pogroms of Bialystock, Russia; Lena Gurr (1897-1992), born in New York, was the daughter of Russian Jewish immigrants. Both were painters committed to social justice who appear to have supported each other wonderfully, including co-exhibition of their art at places like the Brooklyn Museum and enjoying Biel's inclusion at a 1939 World's Fair exposition. Biel's painting "After the Storm," created as part of the Federal Art Project, is part of the New Deal Gallery's collection at Mt. Morris, NY. These three photos from Gurr's photo album are included here to help suggest their modern, reciprocal relationship. Creator An entity primarily responsible for making the resource Gurr, Lena Biel, Joseph Date A point or period of time associated with an event in the lifecycle of the resource 1. 1929-07 2. 1939 3. 1939 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Lena Gurr photograph album pages, 1914-1939 / Lena Gurr, photographer. Lena Gurr papers, 1908-1979. <a href="https://www.aaa.si.edu/collections/lena-gurr-papers-8997">Archives of American Art, Smithsonian Institution.</a> Format The file format, physical medium, or dimensions of the resource 1. jpeg, 165 KB 2. jpeg, 343 KB 3. jpeg, 320 KB Type The nature or genre of the resource Still images Federal Art Project Joseph Biel Lena Gurr New Deal Gallery Painter Photo Album https://openvalley.org/files/original/1544c293708d215b9d78b98ccf6db3be.mp3 e56c8593ee8039aa1712a145d2f4f16b Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Dust Bowl Refugee Creator An entity primarily responsible for making the resource Guthrie, Woody https://openvalley.org/files/original/bd6040f043c4174a83fbedd7e521fae4.jpg 5db0dc529ac475c453367c892404bc08 https://openvalley.org/files/original/3bab745194936e94890314af79cb9289.JPG f472688e0e62499d4994e86b71b995cb https://openvalley.org/files/original/a8a53d3234c33cfebcf62829714e9894.jpg 267b190707bb34cec96ea7af2c828a50 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 x 15.5 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 100 Years Pass Creator An entity primarily responsible for making the resource Guy, James Meikle, 1909-1983 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource 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 #FA18167 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 9.6 MB jpeg, 1.2 MB Description An account of the resource A neoclassical mansion, accessorized by ancestral family tree, looms over a woman wearing a long dress at lower left. Upon closer viewing the coherence of this scene breaks down; she's carrying an axe in her left hand, a la Lizzie Borden, along with something in her right hand we cannot see. Moreover, any attempt to inhabit a romantic tableau of the past is undermined by an historical marker on the front lawn--or is it a 1930s highway sign?--along with an airplane flying overhead. About the Artist: Born in Middletown, CT and trained at the Hartford Art School, Guy was among the earliest Americans to see European surrealism via a 1931 show at the Wadsworth Atheneum on the <a href="https://youtu.be/1UNpfGZ3wy4" target="_blank" rel="noopener">“Newer Super-Realism.”</a> Thereafter he was strongly influenced by painters like <a href="https://en.wikipedia.org/wiki/Salvador_Dal%C3%AD" target="_blank" rel="noopener">Salvador Dali</a>, <a href="https://en.wikipedia.org/wiki/Giorgio_de_Chirico" target="_blank" rel="noopener">Giorgio de Chirico</a>, and <a href="https://en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco" target="_blank" rel="noopener">José Clemente Orozco</a>. At the same time, Guy’s work was characterized by a sharp satirical edge that may have owed something to his own work experience—after high school he had tried selling rugs and typewriters; was a sailor and census-taker—and to his political activities, including membership in the radical John Reed Club. In 1930 he helped stage a 1930 labor play entitled Strike; amid unsuccessful attempts to stage it in New York, Guy remained in the city. During the Great Depression Guy was among the leaders of the Unemployed Artists Group (later renamed the Artists Union), which advocated government support for the arts and later resisted proposed cuts to the Federal Arts Program. Guy’s paintings were exhibited at the Wadsworth Atheneum Annex (1931), the ACA Gallery (1937), American Artists’ Congress (1937), a “Fight War and Fascism” show at the La Salle Gallery (1937), Federal Art Gallery (1938), Boyer Gallery (1939), and Ferargil Galleries (1941). In 1936 he married the respected woodblock artist Clara Skinner, and they co-exhibited at several shows. Guy also undertook public mural projects, referenced only as located in Mexico and “New York churches” (Older). One that is known was a 1934 three-panel project for the Hartford Public High School’s cafeteria on the production of food: “The New England fishing industry is at its center—the port of Gloucester, Mass.—is brought to life in the first panel. The second reveals the story of the wheat belt; fields of grain, elevators, transportation on the Great Lakes. From pastures to stockyard, the cattle industry is recorded in the third” (Older). Perhaps the peak of Guy’s popular recognition, by that time including the epithet of “Yankee Surrealist,” involved a 1941 portfolio of paintings published in Esquire magazine as <a href="https://classic.esquire.com/issue/19410801/print" target="_blank" rel="noopener">“Fun in Ghost Town.”</a> “Today he is more or less established,” the profile stated, “if somewhat precariously....James Guy may be called a depression period radical, for there is nothing in his background or conditioning which would make inevitable the questioning of social values that has been going on in his picture making” (Saltpeter). During World War II Guy worked at the Pratt Read glider factory in Deep River, CT where his visual style changed markedly into a futurism he called “industrial symphonies” (Dickinson). After the war he taught art at Bennington College, MacMurray College, and Weslyan University—with a sabbatical of several years during which he wrote and photographed articles on fishing for outdoor magazines (Stedman). 2 works at the <a href="https://www.nga.gov/collection-search-result.html?artist=Guy%2C%20James%20Miekle" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Ernest Dickinson, “Paints ‘Symphonies of Industry’”, Hartford Courant 15 Oct. 1944: 67; Ilene Susan Fort, “Social Surrealism,” Archives of American Art Journal 22.3 (1982): 8-20; Gerald M. Monroe, “Artists as Militant Trade Union Workers During the Great Depression,” Archives of American Art Journal 14.1 (1974): 7-10; Cy Stedman, “Return of an Artist,” Hartford Courant 19 Jan. 1958: 114-115; Harry Saltpeter, “Guy: Ghoul of the Ghostly West,” Esquire 16.2 (Aug. 1941): 86-87; Julia Older, “Hartford Public Buildings Richly and Lastingly Adorned as Uncle Sam Becomes Nation’s Most Lavish Art Patron,” Hartford Courant 1 Jul. 1934: 59. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 077 Federal Art Project James Guy New Deal Gallery Social Surrealism Watercolor