40 10 1402 https://openvalley.org/files/original/c002b2356568bd1bb27e2df6bed9ec7e.jpg c2dbc02a4c3540ace4489c704d97b215 https://openvalley.org/files/original/dcc8c3a25f43acc1b6792a67cec89ab3.jpg dca1b02758e72bb406847b4b3972f44e 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 Printed 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/. Date A point or period of time associated with an event in the lifecycle of the resource 1859-05 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 623 KB jpeg, 201 KB Title A name given to the resource Farm-House in the Rural Gothic Style Creator An entity primarily responsible for making the resource Harney, George E. (architect) Kilburn, Samuel Smith, and Richard P. Mallory (engravers) Publisher An entity responsible for making the resource available New England Farmer Source A related resource from which the described resource is derived The Genesee Farmer 20.5 (May 1859): 149 <a href="https://archive.org/details/sim_genesee-farmer_1859-05_20_5/page/148/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Description An account of the resource Two drawings envision " a design and plans for a farm-house of the rural gothic style, with conveniences for an estate of considerable size." This would have placed the renderings toward the beginning of that style's popularity, which also was called "carpenter's gothic" for the relatively free on-site improvisations using gothic elements. For example, while the architect acknowledges preferring "stone or brick for the construction of such buildings, yet as there seems to be such a prejudice in favor of wood...we have designed the above to be built of that material." The home's design shows a first floor of quite opulent dimensions; however, it is of potential interest due to its mention of a second floor that "contains seven good-sized bed-rooms, with their necessary closets. Those in the L being entirely distinct from the main body, and reached by a different flight of stairs, may be used for servants and hired men." Given the construction estimates for "the neighborhood of Boston," though, it seems doubtful whether many such estates were built on working farms. Type The nature or genre of the resource Still image Architecture Farm House migrant housing https://openvalley.org/files/original/74f87b00b78535aee6b8ed0d0d5377f4.jpg 1c218ef83caa91740381bd03c49cb8f5 https://openvalley.org/files/original/c695d0c7d9a1e493c971bc1d3cc38aba.jpg 52179c902aa12d543d99449069be77ed 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 Photograph of oil on board painting Physical Dimensions The actual physical size of the original image 9 x 4 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 Cinderella Mural Description An account of the resource At the center of this mural is Cinderella and her horse-drawn carriage, a fanciful castle in the background. Also appearing are well-known characters from other fairy tales: at left, Little Bo Peep, Miss Muffet, and Little Boy Blue; at right, Jack & Jill, Red Riding Hood & the Wolf, and perhaps Peter Rabbit. There is a balance between characters holding poses and those in the midst of physical actions--both presumably of interest to young children. According to a story in the Yonkers Herald Statesman (23 Mar. 1936: 5), it was one of four Federal Art Project murals created for the community: one in the public library, and three in local schools. Harper's, measuring nine feet long, was placed over a fireplace in the kindergarten classroom of School #21. The mural's current status is unknown, but it's an intriguing companion to Harper's 1941 painting: there is a similar queen and castle, along with a riotous train of vivid characters. Ruth Harper was a longtime art teacher in the Yonkers school district, also known by her married name Ruth Austin. Creator An entity primarily responsible for making the resource Harper, Ruth 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 Source A related resource from which the described resource is derived <a href="https://westchesterhistory.com/about/" target="_blank" rel="noopener">Photos Courtesy of Westchester Historical Society</a> Contributor An entity responsible for making contributions to the resource White, Ava Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 1.5 MB jpeg, 1.3 MB Type The nature or genre of the resource Still image Children's Book Fairy Tale Federal Art Project Mural New Deal Ruth Harper https://openvalley.org/files/original/0c7e37b15f015e8553da046a470d3204.jpg 8fb605d4ab6728646cdbfd0a2548c2dc https://openvalley.org/files/original/365ce135b6bef9a1ce764b316ac8e339.jpg d4b12206adf2da7ad6dbe9be17a82418 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas painting Physical Dimensions The actual physical size of the original image 50 x 30 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Wizard of Oz Description An account of the resource The Wizard of Oz by Ruth Harper is an oil painting that visually interprets the world created by L. Frank Baum. The composition centers on a young female figure, likely Dorothy Gale, surrounded by a wide array of characters and animals drawn from multiple Oz narratives. Among them are recognizable figures such as the Tin Woodman and Cowardly Lion, as well as more unusual presences like the Saw-Horse, Princess Ozma, Tik-Tok, and even small piglets, all arranged together in a single, imaginative scene. The painting makes strong use of gem-toned colors, particularly gold and emerald green, which visually reference key elements of the Oz setting like the Emerald City. The emerald green around the painting suggests a proscenium curtain drawing open, inviting the viewer to escape along with Dorothy. Harper’s dense gathering of characters, almost like an “all-star” cast, produces a sense of childlike wonder while also creating a dreamlike, layered environment. While the original Oz stories have often been interpreted as political allegories tied to late 19th-century economic debates and the struggles leading into the Great Depression, it remains uncertain whether Harper intentionally emphasized these meanings. Instead, her painting can be more confidently understood as embracing a surreal, imaginative quality, blending multiple narrative moments into a single fantastical vision. Through this approach, Harper’s work offers viewers a form of escapism, using familiar literary figures and rich symbolism to construct a world that contrasts with the hardships of the Depression-era context in which it was created. About the Artist What we know of Ruth Harper, as an artist, is that of a whimsical style influenced by fables and fairytales. She was born 1883 in Melbourn, Cambridgeshire, England; her family immigrated in 1889 to Ogden, NY—probably due to farming opportunities on the part of her father, James. Harper graduated in 1906 from Brockport Normal School, by which time she had married Frank Austin (continuing to use Harper for her artistic work). She spent most of her life as an art teacher in the Yonkers, NY school district. In 1936 she received a commission from the Federal Art Project painting a large mural for a kindergarten classroom, located above its fireplace in those earlier times. The mural’s composition—of Cinderella and her castle at its center, surrounded by a metaverse of fairy tale characters—anticipates her later painting The Wizard of Oz (1941). Both works stand out within the context of the Great Depression for their imaginative and uplifting qualities, offering a sense of escapism and creativity during an otherwise difficult period. More recently, The Wizard of Oz was unexpectedly discovered in Schenectady, NY, as part of an investigation by the General Services Administration. The painting’s owner reported purchasing it years earlier from a junk store for a small sum, adding an element of mystery to its provenance. This case, along with dozens of others, highlights the importance of the GSA’s Office of Inspector General for recovering <a href="https://www.gsaig.gov/wpa-artwork-gallery">New Deal art</a> that is still owned by the public. Works Consulted: “Murals by Artists of WPA to Decorate Schools, Library” (Yonkers Herald Statesman 23 Mar. 1936: 5); US General Services Administration, Office Of Inspector General, WPA Artwork Recovery--New York City Schools (File Number: 122200049, 27 June 2024) <a href="https://www.governmentattic.org/58docs/GSAoigSelInvests2021-2024.pdf">Courtesy of governmentattic.org</a> Creator An entity primarily responsible for making the resource Harper, Ruth (1883 - 1975) 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 1941 Contributor An entity responsible for making contributions to the resource White, Ava (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27779 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.1 MB Type The nature or genre of the resource Still image Federal Art Project General Services Administration New Deal Museum Ruth Harper The Wizard of Oz https://openvalley.org/files/original/db49b83eb42996ccaa7bf309e2f30357.jpg 93d918d5da5aadc8008f68d27319f3e4 https://openvalley.org/files/original/2840458f7ae43cb6f59cf56d36fce217.JPG a40283bdceebf373c315d81ef5354111 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 Gouache painting Physical Dimensions The actual physical size of the original image 9 x 12.5 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/. Description An account of the resource A table, whose covering appears to have been folded back, becomes the space for an arrangement of flowers in a vase and a beaded necklace in a ceramic dish. Cool blues, grays, and burgundys predominate. The flat picture plane, absence of background space, and diagonal (even tilted) lines combine create an unstable space--the Blue Beads seem to be spilling out of the dish. About the Artist: Born in St. Louis, MO, Harris moved to New York in 1920 and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Max_Weber_(artist)" target="_blank" rel="noopener">Max Weber</a>. There he met other students with whom he would collaborate in the years ahead, eventually exhibiting along with <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a>, <a href="https://en.wikipedia.org/wiki/Milton_Avery" target="_blank" rel="noopener">Milton Avery</a>, and others at a 1928 show at Opportunity Galleries. In 1934 Harris joined the new Secession Gallery, then left a year later to co-found <a href="http://www.louisschanker.info/tendisc.htm" target="_blank" rel="noopener">"The Ten"</a>, a collective of expressionist painters upholding abstract art at a time when the Whitney Museum was shifting its emphasis to social realism. They argued that their mission was “a protest against the reputed equivalence of American painting and literal painting... [instead seeing] objects and events as though for the first time, free from the accretions of habit and divorced from the conventions of a thousand years of painting.” The group, which also included Rothko, Lou Schanker, Adolph Gottlieb, and Ben-Zion, held group shows between <a href="http://www.warholstars.org/abstract-expressionism/abstract/ten.html" target="_blank" rel="noopener">1935-39</a>. At their final show, NDG artist David Burliuk was included. Harris’s painting “Water Tanks” was selected for a 1938 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Bena Frank, Herman Copen, and Tomizo “Thomas” Nagai also appeared. 3 works at <a href="http://www.kemperartmuseum.wustl.edu/collection/explore/artist/559" target="_blank" rel="noopener">Kemper Art Museum</a>. 1 work at <a href="http://rosecollection.brandeis.edu/Obj5743?sid=5230&x=149644" target="_blank" rel="noopener">Rose Art Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-13" target="_blank" rel="noopener">FAP</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/harris_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Title A name given to the resource The Blue Beads Creator An entity primarily responsible for making the resource Harris, Louis, 1902-1970 Format The file format, physical medium, or dimensions of the resource jpeg, 914 KB jpeg, 9.3 MB Publisher An entity responsible for making the resource available Federal Art Project 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 #FA18169 Type The nature or genre of the resource Still image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Identifier An unambiguous reference to the resource within a given context 079 Federal Art Project Louis Harris New Deal Gallery painting https://openvalley.org/files/original/4a90f72d05e6c4ed87eab0157601fe0f.png 8944ef5fb47ce9ceee6dca7b66a533be Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Power Plant '73 Creator An entity primarily responsible for making the resource Harry Schaefer Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived theatlantic.com https://openvalley.org/files/original/4eabb6c0a9a643260b29aae1f7fda4da.jpg 202b39982b716f32b6982034ee10c66d https://openvalley.org/files/original/3606af3a9825ad92f3f5b47c4ec08aa1.JPG 8fed4079ce1aac029cdae0de85f6460e 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 19.5 in. Condition: surface dirt, pencil marks, stains 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 Field 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 Gallery 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 #FA18170 Format The file format, physical medium, or dimensions of the resource jpeg, 991 KB jpeg, 11.9 MB Description An account of the resource The setting of this composition blurs the genres of En plein air landscapes and still lifes; there is no "background" to situate the basket of flowers in space, but the grass underneath them departs from carefully artificial indoor settings. A few buttercups growing in the grass echo those already collected for Hartl's basket. Hovering in space, the stems sometimes are so delicate that their blooms appear to be floating. About the Painter: 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 <a href="https://en.wikipedia.org/wiki/Marcel_Duchamp" target="_blank" rel="noopener">Marcel Duchamp</a> 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. Identifier An unambiguous reference to the resource within a given context 080 Federal Art Project Leon Hartl New Deal Gallery painting still life https://openvalley.org/files/original/1c3e72b07160f033d90d2f91abb38693.jpg 2d0e093eebdfbaed263abb461c250756 https://openvalley.org/files/original/c5fad43243b06077b3d4a25918d506a7.JPG 59bd41729b07cb9e5eae8b60e83a49ba 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 20 x 30 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 Harvest Still Life 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 #FA18171 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 15.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 081 Description An account of the resource Nature's bounty is gathered into a late-summer array: grapes, pears, peaches, a plum and a melon; behind them, heads of wheat and various flowers. It is not a haphazard grouping, given the wheat stalks poking out from green grass; the effect is closer to that of a flower arrangement. At the intersection of nature and artifice stands a gourd-shaped pitcher, worked metal emulating the shape of indigenous dried gourds used for a similar purpose. 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/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/77241877ddb86b6df94e0aa6caa83380.jpg 2faa50cc4fe3e411faf89f802334c92f https://openvalley.org/files/original/bf499090392e2b6f64cf8045923196b5.jpg e60a5b8119ec7bca98305e97cde548f9 https://openvalley.org/files/original/a01b1eb56e2557313a874ae618492b12.jpg 8a5295167a08d3997fa54590655d15da https://openvalley.org/files/original/5ff7168e8de1d5bddfd162562500f981.jpg 95061f5b6cbd30b8fb40d529b406c43f https://openvalley.org/files/original/b41fea75107052893f9c321eeee03a59.jpg deb9b12ac19679fb018f93e4b389e666 https://openvalley.org/files/original/9e269110266cfa517834299bb291758e.jpg 09979d9ecd568ce694433bf1c13fdcc8 https://openvalley.org/files/original/efc4b560aeefc9cb0009dd23712ff8a5.jpg 2603047a6a4f9cc16edf30beb755f47f 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 Illustration in book Physical Dimensions The actual physical size of the original image 7.83 x 11.29 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 New York State "native" grape illustrations Description An account of the resource A collection of illustrations from the 1908 book Grapes of New York by Ulysses Prentiss Hedrick. The selections are native grapes, as opposed to European-origin vinifera grapes. These varieties are seen as more "local" options that are better for the environment and require fewer chemicals than vinifera grapes, which needed to be grafted onto the roots of native grapes in order to survive in the Finger Lakes soil. Creator An entity primarily responsible for making the resource Hedrick, Ulysses Prentiss Date A point or period of time associated with an event in the lifecycle of the resource 1908 Contributor An entity responsible for making contributions to the resource Booth, Nathaniel Ogden Viglucci, Matthew Source A related resource from which the described resource is derived Hedrick, U.P. The Grapes of New York. Albany, NY: J.B. Lyon Company, 1908. Print. Format The file format, physical medium, or dimensions of the resource jpeg, 2.6-3.9 MB Type The nature or genre of the resource Still image Finger Lakes sacramental wine Underground Atlas https://openvalley.org/files/original/1fc390c4c57a90f0ac303dbedcf8c998.jpg a0f7384927a66116b92774d9ad48343d https://openvalley.org/files/original/43f9a2b73697993cd2048e3d1ad414d2.JPG 844941d6de3adfca4a5eed306929348d 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 29 in. Condition: water stained, chipped paint, 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 Rough Coast Creator An entity primarily responsible for making the resource Henning, Charles 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 1937-02-02 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 #FA18173 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 13.9 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 083 Description An account of the resource At the time of this painting, marine art in its modern form was less than a hundred years old. Henning shows the influence of <a href="https://en.wikipedia.org/wiki/Gustave_Courbet" target="_blank" rel="noopener">Gustave Courbet's</a> "landscapes of the sea" and of subsequent artists like <a href="https://en.wikipedia.org/wiki/Claude_Monet" target="_blank" rel="noopener">Claude Monet</a>, albeit in more representational form. A wave arriving at shore is secondary to the power of several elements in the painting--sky, cloud, ocean, wave, foam, and rock--each with its own distinctive style, each complicated by variations of light. About the Artist: We haven’t located much reliable information about this artist. He exhibited at the Brooklyn Artists Gallery in 1932. 38 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Henning%2C%20Charles" target="_blank" rel="noopener">National Gallery of Art</a> as part of <a href="https://www.nga.gov/features/exhibitions/outliers-and-american-vanguard-artist-biographies/index-of-american-design.html" target="_blank" rel="noopener">Index of American Design</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-35">FAP</a>. Charles Henning Federal Art Project New Deal Gallery painting