39 10 1402 https://openvalley.org/files/original/a0cd33c77cbb28e737490d4b88ddb4fd.tif 4388a2e0de59f83c7c6756c974668d0a 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 1256 x 1600 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 Fritz Michael's Vineyard Description An account of the resource Fritz Michael tending to his grapes at his late 1800s-early 1900s winery in Dansville, NY. He shared his vineyard with others, including a doctor from the Jackson Sanitorium, located nearby on the same hill, who believed in a diet focusing on fresh fruit (particularly grapes) to cure mental illness. Date A point or period of time associated with an event in the lifecycle of the resource 1890-1915? Contributor An entity responsible for making contributions to the resource Viglucci, Matthew Source A related resource from which the described resource is derived Courtesy of Gary Cox Format The file format, physical medium, or dimensions of the resource tif, 3 MB Type The nature or genre of the resource Photograph Finger Lakes sacramental wine Underground Atlas https://openvalley.org/files/original/49381f46d781d37193b0bc7b3a51c5bf.JPG 0d8df6002cb1bb0113e83c1cdabd828b https://openvalley.org/files/original/b74bcb7db79a850c83f30e7df55eb0d6.JPG cb3398f0b23592dd471bacf8d6ecba31 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 38 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource From the Mid-Country Highway Format The file format, physical medium, or dimensions of the resource jpeg, 974 KB jpeg, 13.8 MB Description An account of the resource The location of this painting isn’t clear: there’s no identifiable “mid-country highway,” and a “mid-county” highway in Maryland doesn’t seem to fit the landscape. Here, we look at hilly terrain under a cloudy sky that have rendered the mountaintops very dark. A driveway in the foreground leads to a road, whose unpaved status either renders Powell’s title somewhat ironic or implies that we are looking from a newer road upon this simpler tableau. A farm and fields is visible in the midground, and another further in the distance. The colors here all are muted fall earthtones, no blazing foliage. About the Artist: Born in Van Wert, OH, Powell traveled and painted the American landscape at a young age, a pattern followed through much of his life. At age 15 it was a trip to Portland, OR, and San Francisco, eventually resulting in his enrollment at the San Francisco School of Design. Powell later studied at the St. Louis School of Fine Arts; Académie Julian, Paris; and with the classicist <a href="https://en.wikipedia.org/wiki/%C3%89douard_Toudouze" target="_blank" rel="noopener">Édouard Toudouze</a> and portraitist <a href="https://en.wikipedia.org/wiki/Gabriel_Ferrier" target="_blank" rel="noopener">Gabriel Ferrier</a>. He painted lakes in Glacier National Park, mountains in Idaho, town squares in France, and street scenes in New York. “Every time I got a couple hundred dollars in hand I’d strike out for some new place,” he later said (“Artist”). Although Powell’s specialty was landscape paintings, sometimes he experimented with engravings, woodblock prints, or allegorical material: massive, eight-by-twelve-foot mural paintings of “Second Birth of Christ” and “The Sermon on the Mount” for the Dover Plains Methodist church. By this point Powell had made his home in Dover Plains, NY  introduced to the area by his long-time artist friends G. Glenn Newell, Harry Franklin Waltman, and Walter C. Hartson. The mountainous rural environs of Dutchess County often were the subject of their landscapes. Powell was awarded various prizes for his paintings, a member of the Salmagundi Club and in 1937 elected to the National Academy of Design. But he is perhaps best remembered in his local community, having donated paintings to schools and firehouses, mentored local artists, and served as president of the art association. Just prior to his death Dover Plains named Powell Road in his honor. 1 work at the <a href="https://emuseum.hydecollection.org/objects/4251/winter-landscape?ctx=b2865c76-5eb0-4301-89b1-6da57033bab5&idx=0" target="_blank" rel="noopener">Hyde Collection</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-35" target="_blank" rel="noopener">FAP</a>. Sources Consulted: “Dover Church Gets Painting,” Poughkeepsie Eagle-News 26 Sept. 1932: 2; “Four Artists, Close Friends and Neighbors in County, Show Paintings at Gallery,” Poughkeepsie Journal 20 Jan. 1946: 11; “ ‘Artist Should Please Himself,’ Maintains Dover Plains Painter,” Poughkeepsie Journal 21 June 1953: 6A. Creator An entity primarily responsible for making the resource Powell, Arthur J[ames] E[mery], 1864-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 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 #FA18241 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 148 Arthur J. S. Powell Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/552760dde42f537f810cc5240215d37e.JPG b043669d5c3e2290df667e46a5dcc24e 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 21.5 x 17.5 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fruit and Drapery Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource This complex still life plays with how the natural world makes its way into artistic forms and representation. A grouping of fruit at upper left is echoed in the fabric’s shapes at lower right, as with the bell pepper’s distinctive shape. A pear at middle right is easy to overlook because its colors blend in. Meanwhile, a ceramic teapot is painted with its own colors and floral designs (referenced in another fabric). There are three distinct pieces of cloth, whose patterns multiply by reversal and draping. In the background is either a painting of sky upon the wall, or Kovner’s painted sky for this composition. About the Artist: Born in Rogachov, Russia, Kovner—who painted under the name “Saul”—immigrated with his parents in either in 1911 or 1912 to New York. He studied there at the National Academy of Design with <a href="https://en.wikipedia.org/wiki/Charles_Webster_Hawthorne" target="_blank" rel="noopener">Charles Hawthorne</a> and <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a>. Kovner then set up a studio near Central Park, whose gregarious crowds seem to have influenced many of his works, regardless of their unflinching looks at poverty. In 1935, Kovner was one of three WPA artists assisting James Michael Newell on <a href="https://livingnewdeal.org/projects/evander-childs-high-school-mural-bronx-ny/" target="_blank" rel="noopener">The Evolution of Western Civilization</a>—a massive, 12-panel fresco at Evander Childs High School in the Bronx. Kovner moved to Burbank, CA in the late 1940s and remained there until his death. 6 works at <a href="https://americanart.si.edu/artist/saul-kovner-2702" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.dia.org/art/collection?keys=kovner&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of Arts</a>. 1 work at <a href="http://collection.whitney.org/object/4903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Kovner%2C%20Saul" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://gallery.newarkmuseum.org/media/view/Objects/3073519/595685?t:state:flow=6f524d60-9569-439c-b346-e757c9208e43" target="_blank" rel="noopener">Newark Museum</a>. 1 work at <a href="https://artmuseum.princeton.edu/collections/objects/3676" target="_blank" rel="noopener">Princeton University Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-8" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Kovner, Saul, 1904-1982 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 #FA18192 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 099 Federal Art Project New Deal Gallery painting Saul Kovner still life https://openvalley.org/files/original/b09aa57916754a41e34a201d5acef91c.jpg 7456b4368b6469ae36e78ec4c25c74f0 https://openvalley.org/files/original/0b2e9d453ec91cf4a7fca9b952ec5a93.JPG e49964003dd4c0a13d8dc224801c3923 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 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fruit and Flowers Creator An entity primarily responsible for making the resource Cogan, Martin 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 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 #FA18134 Format The file format, physical medium, or dimensions of the resource jpeg, 986 KB jpeg, 9.3 MB Description An account of the resource A simple still life (perhaps deceptively so) includes as its ostensible objects a Grecian vase, flowers, and red grapes. Whether intentional or not, each element evokes a somewhat different artistic tradition: classical sculpture, informal nature in the form of daisies and zinnias, and European still life as represented by grapes. The entire arrangement sits upon a reflective surface. About the Artist:We haven’t located any reliable information about this artist. Please help us if you have any information. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-36">FAP</a>. Federal Art Project Martin Cogan New Deal Gallery Painter https://openvalley.org/files/original/98b9bb5f51df607f3a8ae7b088cdb261.jpg 5c026d6ef9dac585f9edc879e4e17840 https://openvalley.org/files/original/e24f4aa4635efbcff86e3ea4569f7721.JPG 233468d327b5c8cd9f499e8ce07c8407 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 Fruit and Flowers Creator An entity primarily responsible for making the resource Hartl, Leon Joseph, 1889-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 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 #FA18172 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 11.9 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 082 Description An account of the resource More than a dozen species of fruit and flowers are mounded on a bed of grass. The painting's upper half, a skillfully mottled background, is crucial for establishing the space necessary to make sense of the lower half--without it, those objects flatten into a wallpaper. Stalks of wheat and the greenery of flowers likewise sketch out spatial coordinates within which the brightly colored icons acquire mass. About the Artist: Born in Paris, Hartl immigrated to the US in 1912 and became a citizen ten years later. His professional background had been with aniline dyes, working with ostrich and other rare feathers for milliners and couturiers. In 1922, he entered into a partnership with Marcel Duchamp creating a fabric and feather-dyeing shop that went bankrupt six months later. Hartl always held jobs out of necessity, painting his landscapes and still-lifes on Sundays, but was widely respected for his art. After viewing a 1924 show at Minneapolis Institute of Arts, one critic wrote that “The care with which he works out his subject is the touchstone which transforms a quiet scene into something broadly tender, beautiful in texture and tone” (Allen). Another described his still lifes as “lovely still-life arrangements of  flowers, arranged on pale colored clothes, preferably pinks and grey blues. The bouquets have the simplicity of statement that a child’s concept of a bouquet would have with the difference that his work is neither accidental or immature” (Brooklyn Daily Eagle 28 Jan. 1934: 12). He exhibited at the <a href="https://archive.org/details/newpicture00unse/page/n87" target="_blank" rel="noopener">New Gallery</a> (1923), Art Institute of Chicago, Carnegie Institute, Corcoran, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Salons of America, Society of Independent Artists, and the Whitney Museum of American Art. Hartl’s reputation usually was framed within the problematic concept of primitivism, like his contemporary Henri Rousseau; this was based upon his visual style but perhaps also due to his refreshingly down-to-earth view of painting. At a 1970 Teamsters Union show featuring the work of amateurs, the 81-year-old Hartl was quoted as saying “It’s very important for working people to develop a spiritual side” (New York Daily News 21 June 1970: 22). 4 works at <a href="http://collection.whitney.org/artist/571/L%C3%A9OnHartl" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="http://www.ashevilleart.org/artists/leonhartl/" target="_blank" rel="noopener">Asheville Art Museum</a>. 7 works at <a href="http://emuseumplus.unl.edu:8080/eMP/eMuseumPlus?service=ExternalSearch&module=collection&viewType=detailList&fulltext=Hartl" target="_blank" rel="noopener">Sheldon Museum of Art</a>. 1 work at <a href="http://www.phillipscollection.org/collection/browse-the-collection?id=0886" target="_blank" rel="noopener">The Phillips Collection</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/hartl_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Source Consulted: Burt Allen, “‘Personality’ is Slogan of French Artists Whose Work is Being Shown at Institute,” Minneapolis Star Tribune 30 Mar. 1924: 61. Federal Art Project Leon Hartl New Deal Gallery painting still life https://openvalley.org/files/original/b1d14bc6d680021f6fce59375e8fb7bc.jpg 47d238dd640fb8c8521c8fdb3ab2d8b6 https://openvalley.org/files/original/8a3ff07b648b60cc1b42ef67504738ab.JPG 5059b41d8bc98cdc76ad0259c4a5df74 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 23.5 x 29.5 in. Condition: surface dirt, slight tear 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 Fruit and Flowers (1) Format The file format, physical medium, or dimensions of the resource jpeg, 996 KB jpeg, 14.5 MB Description An account of the resource Several stems of pink and white gladiolus are displayed in a pictorial vase, whose unusual scene gestures toward a sailboat alongside a coastal mountain range. Below them on the table are apples, an orange, and a grapefruit. A warm light illuminates the still life and its simple surroundings. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-6" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pecci, Mario 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 1937-10-20 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18236 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 143 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Federal Art Project Mario Pecci New Deal Gallery painting still life https://openvalley.org/files/original/561949762e81d6f61524fddb7950ac31.JPG fc497b5d6319940b7fee421f2afcdbde https://openvalley.org/files/original/431fc3eb2e2f2451ccdac568be40a3bb.JPG 7736e742dd3bed1256a9d32483b25e54 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 30 in. Condition: paint 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 Fruit and Flowers (2) Format The file format, physical medium, or dimensions of the resource jpeg, 917 KB jpeg, 14.7 MB Description An account of the resource On a plain table is placed a bowl of pears and an Italian jug, apparently that same one as appearing in his <a href="https://openvalley.org/files/original/9d7611ebc1af582d58826fa336d7f1e4.JPG" target="_blank" rel="noopener">“Fruit in a Basket"</a> still life. In the jug, we see a bouqet of roses. Light from the ride side of painting casts shadow seemingly upon a wall at left; if so, the room’s corner isn’t visible due to Pecci’s coloring in shades of brown. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-6" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pecci, Mario 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 1937-08-24 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 #FA18238 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 145 Federal Art Project Mario Pecci New Deal Gallery painting still life https://openvalley.org/files/original/9d7611ebc1af582d58826fa336d7f1e4.JPG 6e496dfa10dbb5c6c35908d297a1ac3a https://openvalley.org/files/original/b5813d0488783ace85e7f934089bda7c.JPG ac6184a5cd8f131af8257d083bfac716 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fruit in a Basket Format The file format, physical medium, or dimensions of the resource jpeg, 883 KB jpeg, 11.9 MB Description An account of the resource Upon an unadorned table we see a cane basket filled with apples, oranges, and a grapefruit; next to a pitcher, a lemon and another apples. In the absence of drapery or curios, the complexity in this still life comes from subtle elements like the apples’ blush and striping, shadows upon the wall and table, or indeed the minimalist “European” aesthetic. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-6" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pecci, Mario 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 1937-10-20 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 #FA18237 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 144 Federal Art Project Mario Pecci New Deal Gallery painting still life https://openvalley.org/files/original/27b77eebbe207699ed686906e89cd64a.jpg cc78f1ea0172c932ce30a43dcc88e283 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 Paper letterhead 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 G. D. Dooer Letterhead Description An account of the resource This butcher in Avon, NY did business with the Wadsworth family in the later 19th century Date A point or period of time associated with an event in the lifecycle of the resource 1885-11-06 Contributor An entity responsible for making contributions to the resource Slawinski, Elyssa Source A related resource from which the described resource is derived Wadsworth Family Papers Milne Library Special Collections, SUNY Geneseo Format The file format, physical medium, or dimensions of the resource jpeg, 299 KB Avon, NY butcher Dooer, G.D. foods letterhead https://openvalley.org/files/original/89ea5e6f85150692f7b10123cf591115.jpg 8093fc99594310c000bf15a9f24b5e9b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print atlas 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 G. D. Dooer's butcher shop in East Avon, NY Description An account of the resource In this detail from an 1872 map, we can see that the processing of meats took place literally next door to a school Creator An entity primarily responsible for making the resource Beers, F. W. Date A point or period of time associated with an event in the lifecycle of the resource 1872 Format The file format, physical medium, or dimensions of the resource jpeg, 674 KB Publisher An entity responsible for making the resource available F. W. Beers Contributor An entity responsible for making contributions to the resource Slawinski, Elyssa Source A related resource from which the described resource is derived "Atlas of Livingston Co., N.Y., from Actual Surveys Done by and Under the Direction of F. W. Beers." New York : F. W. Beers, 1872. Rochester Public Library Type The nature or genre of the resource Map Avon, NY foods meat school