41 10 1402 https://openvalley.org/files/original/04cdbf6c0adf040dadabf469b30df0cb.jpg 55aa35458e6de497e96fa99e05cecf22 https://openvalley.org/files/original/81385cc3d269040275421e17d3c2711a.JPG 7dfa5e64a81b8bcb95f39c14373c4fb4 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 40 in. Condition: stains, surfaces dirt, tack marks 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 Long Island Landscape 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 1937-03-12 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 #FA18174 Format The file format, physical medium, or dimensions of the resource jpeg, 954 KB 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 084 Description An account of the resource A soothing rural landscape fades into the hazy distance. Its design is mostly symmetrical, save for a red barn and fence at left center; humans and livestock are conspicuous in their absence. Perhaps the painting's most remarkable feature is its almost kaleidoscopic foreground, bright and particular with color. It may be that Henning's <a href="https://www.nga.gov/collection/art-object-page.28852.html" target="_blank" rel="noopener">extensive work on toleware</a> for the Index of American Design influenced his palette of colors here. About the Artist: We haven’t located much reliable information about this artist. He exhibited at the Brooklyn Artists Gallery (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" target="_blank" rel="noopener">FAP</a>. Charles Henning Federal Art Project Long Island New Deal Gallery painting https://openvalley.org/files/original/9b8e038961457c9a3465e26152d93b13.jpg 920463ac89888d6143b51430a3f63732 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Poe Cottage Format The file format, physical medium, or dimensions of the resource jpeg, 221 KB Description An account of the resource This cottage has <a href="http://bronxhistoricalsociety.org/poe-cottage/history-of-the-cottage/" target="_blank" rel="noopener">a long history</a>, almost entirely due to the writer Edgar Allan Poe and his wife, Virginia Clemm, occupying it at the end of their lives and in poor health. The building lay in neglect, eventually was moved, and now is preserved by the Bronx County Historical Society. About the Artist: We haven’t located much reliable information about this artist. He exhibited at the Brooklyn Artists Gallery (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" target="_blank" rel="noopener">FAP</a>. 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 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-35" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 10, Folder 35.</a> Type The nature or genre of the resource Still image Charles Henning Edgar Allan Poe Federal Art Project New Deal Gallery The Bronx https://openvalley.org/files/original/4227a5f42d05c939dbc1f27e95912081.jpg be81be6923b6749ebd1ffbc870a040c8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sawmill River--Westchester Description An account of the resource We look out upon a small lake or pond, with a dog frisking along a path; an empty rowboat waits invitingly. Trees and open spaces predominate. Although the exact location of Henning's painting isn't given, it's possible this might be Woodlands Lake--one of the largest impoundments along this 23-mile river. About the Artist: We haven’t located much reliable information about this artist. He exhibited at the Brooklyn Artists Gallery (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" target="_blank" rel="noopener">FAP</a>. 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 Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Divsion, Box 10, Folder 35.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 510 KB Type The nature or genre of the resource Still image Charles Henning Federal Art Project painting Saw Mill River https://openvalley.org/files/original/a8d18e7e1df511ad7131d865302d7316.jpg af437d8d7232ba09b990a29d58a960ee https://openvalley.org/files/original/b773cce6db278250a16a9fa22261c394.jpg 0b859fb88fbf8b766535bcba51e42a39 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 Canvas: 30 1/8 x 24 in. Frame: 36 5/8 x 30 3/4 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 941 KB Title A name given to the resource Snowy Landscape Creator An entity primarily responsible for making the resource Henry, Charles Trumbo (1917 - 1981) 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 1938 Contributor An entity responsible for making contributions to the resource Copolla, Victoria (description and biography) Cooper, Ken (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 20641 Type The nature or genre of the resource Still image Description An account of the resource Snowy Landscape depicts farm buildings located in a mountain valley, their grays and reds deeply saturated to attract the viewer's eye. The structures are perhaps slightly simplified, some lacking windows or even doors, and none seems to be the living quarters. (Compare this to Henry’s strikingly similar <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-38" target="_blank" rel="noopener">Valley Farm</a> [1940] to appreciate the decisions informing this earlier painting.) Henry’s work compels emotion in his audience with the adopted color scheme: besides these snug buildings, the sky’s color has blue tones that do not indicate turbulence but rather a sense of calm. Because the work was produced amid national apprehension, Henry’s rendering of a cold scene implies a certain perseverance needed by the nation through this troubling time. Henry creates depth with the use of rolling hills, fences dividing pastures, and trees in the background behind the house. The foreground’s use of a fence adds even more depth but also a sense of privacy. A subtle use of brown creates contours to the snow; even Henry’s signature follows one such line. Although not created for any specific exhibition location, Snowy Landscape evokes a sense of comfort and connection to nature—especially when compared to the extreme drought and rural bankruptcies across most of 1930s America. This farm scene would have reminded its viewers of home, whether topographically or temporally: a world they’d want to inhabit. About the Artist Charles Trumbo Henry was born in Niagara Falls, NY in 1902. He grew up in Missouri and studied art at the Missouri State Teachers College (today, Truman State University) and the Kansas City Art Institute. Henry moved to New York in the late 1920s to study at the Art Students League, an organization with which he maintained a long connection and leadership role. He was a painter known for his colorful depictions of American landscapes, informed by a regionalist sensibility. “Young painters in New York are going back to their homes in the middle west to paint the country they know,” he wrote in 1933 (“Charles Henry Exhibits”). Henry was employed first by the Public Works of Art Project and then the Federal Art Project, spanning the years 1935 to 1943. He exhibited works in the Whitney Museum in New York City, the Pennsylvania Academy of Fine Arts, National Academy of Design, and the Carnegie Institute, among other venues. In 1937 Henry was selected to create <a href="https://americanart.si.edu/artwork/aspects-american-industrial-scene-mural-study-us-department-labor-washington-dc-35919" target="_blank" rel="noopener">a mural</a> for the Department of Labor in Washington, D.C., featuring construction of the Triborough Bridge at Hell Gate.  A year later, he was selected for a project that became <a href="https://americanart.si.edu/artwork/landscape-mural-study-cornelia-georgia-post-office-10307" target="_blank" rel="noopener">a mural</a> located in the U.S. post office in Cornelia, GA. That led to an unusual nine-month assignment at the federal penitentiary in Atlanta, where he taught art workshops, developed a vocational program, and even consulted on the paint colors for various rooms (“Charles Henry on New Art Projects”). After WWII Henry and his family moved to Los Angeles, where he continued to paint but of economic necessity also became lead fundraiser for a cancer not-for-profit (“Sunday’s Painter”). One review of a 1949 solo show in New York suggested that “Henry keeps his colors low in key, and his delicate gift of factual observation never fails him when the object being looked at is at close hand” (S.P.). 2 works at <a href="https://americanart.si.edu/artist/charles-trumbo-henry-2174" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-38" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Charles Henry Exhibits Work in New York,” Kirksville Daily Express 27 Aug. 1933: 4; “Charles Henry on New Art Projects,” Kirksville Daily Express 7 Feb. 1939; “Sunday’s Painter One-Man Show Depicts Landscapes,” Los Angeles Daily News 27 Jan. 1951: 4; S.P., “2 One-Man Shows Mark Art Scene,” New York Times 24 June 1949: 21 <a href="https://nyti.ms/4xdbvIk" target="_blank" rel="noopener">Link</a> Charles Trumbo Henry Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/26e093a1c729b5c4d5b5a3714d310280.jpg 117c47ffb72cab1f9e235fd50a3620c0 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 Aching Heart Mandala Creator An entity primarily responsible for making the resource Hernandez, Eva Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 980 KB Description An account of the resource Floral border defines a circle with more flowers, a pair of solar disc flowers, and a heart with anthropomorphized face. Above, the phrase "Te Extrano" (I Miss You) raises a complex question. Is Hernandez referring to a specific person or, given the red/white/green color pallete, Mexico itself? Or perhaps both? Note: this is file from a digital photograph taken at the time; size and clarity may be impacted. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Mandala Mexico https://openvalley.org/files/original/9afcf45c259927c30ace2cff4679b936.jpg c08a6a96e0c62a453eb032106f63297b https://openvalley.org/files/original/d771c3a098b2952278bf2f4df53840e3.jpg 2819f0f1a0407a4bb54708700f2fb207 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 35 x 25 cm. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource View on the Erie Canal Creator An entity primarily responsible for making the resource Hill, J[ohn] W[illiam], 1812-1879 Format The file format, physical medium, or dimensions of the resource jpeg, 424 KB jpeg, 5.6 MB Description An account of the resource Hill was the son of a well-known commercial lithographer, and was only 17 years old when he created this and other watercolors of the Erie Canal with an eye toward eventual publication. That never came to pass, but as historical documents the somewhat stylized paintings still are invaluable, in this case just five years after the canal opened. Here, we see two vessels passing each other along an unspecified stretch of the canal: a packet boat carrying several wealthy travelers, and a barge carrying what appears to be a load of stone. On the towpath, "hoggees" drive mules used to pull the boats. Within this one stretch there are two low bridges, over one of which a farmer is driving pigs from one field to another. It's clear that many different social and economic interests are in play, yet the overall effect is harmonious. Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. <a href="http://digitalcollections.nypl.org/items/510d47d9-7ba7-a3d9-e040-e00a18064a99" target="_blank" rel="noopener">New York Public Library Digital Collections.</a> Date A point or period of time associated with an event in the lifecycle of the resource 1829 Type The nature or genre of the resource Still image Erie Canal John William HIll Watercolor Watersheds https://openvalley.org/files/original/af57c44803d37e54c1b2537fe6b95797.jpg 0932877f00aa59025ea819ad996be84a https://openvalley.org/files/original/a628b2ebc34e92c549fe0ee019003947.jpg bddc0d8a046cabf7a234ee8e62c52084 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph Physical Dimensions The actual physical size of the original image 14 1/2 x 21 7/16 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 Palisades (No. 19, Hudson River Portfolio) Description An account of the resource In the summer of 1820, Wall toured the Hudson River and painted a series of watercolors that then would be etched and issued to subscribers in series of four prints. The text accompanying this images reads: "The Pallisadoes consist of a line of rugged and perpendicular bluffs, which at a few miles distance from the city of New-York, margin for a considerable distance and overlook the bed of the Hudson river...Rising in savage grandeur, and stretching their tree-crowned summits far as the vision can compass, these rocks are too prominent a feature in the scenery of the Hudson to be overlooked. The shore...is abrupt, and the water sufficiently deep to allow vessels, even of considerable burthen, to approach within a short distance...The height of these bluffs....rising from 400 to 800 feet, exhibiting...steep and solid masses of stupendous stone, and presenting here and there deep cavities, where the eagle builds his nest among the cliffs." Creator An entity primarily responsible for making the resource Hill, John (1770-1850) (Etcher) Wall, William Guy (b. 1792) (Artist) Smith, John Rubens (1775-1849) (Etcher) Publisher An entity responsible for making the resource available Megarey, Henry J. (1818-1845) Date A point or period of time associated with an event in the lifecycle of the resource 1820 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Edward W. C. Arnold Collection of New York Prints, Maps and Pictures, Bequest of Edward W. C. Arnold, 1954 <a href="https://www.metmuseum.org/art/collection/search/357126">Courtesy Metropolitan Museum of Art</a> <a href="https://creativecommons.org/publicdomain/zero/1.0/">Via Wikimedia Commons</a> Hudson Palisades Hudson River Wall, William Guy Watershed https://openvalley.org/files/original/839b6f36cb3ecced8084ec25a531da2b.png 474dfcd4a7fbe3151cfa4006d6b87ad0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital file 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 Tree of Life Description An account of the resource A tree depicting the relationship between sequenced genomes (as of 2006). The center represents the last universal ancestor of all life on earth. Each color represents one of the three domains of life: pink represents eukaryota (animals, plants, and fungi); blue represents bacteria; and green represents archaea. "Homo sapiens" is two from the rightmost edge of the pink section. Creator An entity primarily responsible for making the resource Hillis, David Publisher An entity responsible for making the resource available iTOL: Interactive Tree Of Life Date A point or period of time associated with an event in the lifecycle of the resource 2008-2-29 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived iTOL: Interactive Tree Of Life Format The file format, physical medium, or dimensions of the resource jpeg 1.4 MB microbes microbiomes Tree of Life https://openvalley.org/files/original/f4939378e038c8fea00af4946518c312.png ae6c9028b192f1b71a5f7e4a55de2083 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 Scanned picture of a poem 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 Félix Hipolito - "On the job" Description An account of the resource This poem, written by Felix Hipolito demonstrates the life that a migrant farm worker has. The first stanza of the poem begins with Hipolito getting to work and cutting tomatoes and then continuing to do so for the rest of her workday. From this piece, it seems that once a migrant farm worker is told to do a piece of work, they do it, and then continue to do that labor for the rest of the day. Later in the poem, he talks about his favorite job on the farm which is making boxes. Creator An entity primarily responsible for making the resource Hipolito, Felix Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Michalkow, Nikolete Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource png, 182KB Type The nature or genre of the resource Still Image Geneseo Migrant Center Migrant Camps Migrant Farmer https://openvalley.org/files/original/9fdbd490c374dff26e7699407066d292.jpg 0cdc68fd1c15f4f88c553ce8a5c8ac40 https://openvalley.org/files/original/76f877ee82fa6437cc2bca83f78b074e.JPG c5df7dcd0cc94762c8c6f9541ac9eedf 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: surface dirt, spotted 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 One Ring Circus Creator An entity primarily responsible for making the resource Hondius, Gerrit, 1891-1970 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 #FA18175 Format The file format, physical medium, or dimensions of the resource jpeg, 955 KB jpeg, 14.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 085 Description An account of the resource In circular composition, we behold a miniature world. Three glamorous horseback performers; a clown and his costumed dog at lower left; a crowd of spectators beholding the action: all orbit around a circular red carpet. At right is an ambiguous figure that may be a clown, dwarf, or even the show's impresario. Hondius, like many other modernist painters, was fascinated by circuses for their picturesque qualities, and perhaps moreso for the marginal lives gathered under a tent. About the Artist: Born in Kampen, Netherlands, Hondius studied at the Royal Academy in The Hague and the Laren Art Colony before fleeing Europe to the US in 1915 (he became a citizen in 1939). In New York, he studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Max_Weber_(artist)" target="_blank" rel="noopener">Max Weber</a> and <a href="https://en.wikipedia.org/wiki/Andrew_Dasburg" target="_blank" rel="noopener">Andrew Dasburg</a>. Thereafter he divided his time between New York and <a href="https://buildingprovincetown.wordpress.com/2010/01/07/516-commercial-street/" target="_blank" rel="noopener">Provincetown, MA</a>. He exhibited at Whitney Museum (1924-26,1932,1934,1945) and at numerous solo shows. A reputation for melancholic paintings seems to have been <a href="https://archive.org/details/lorserfeitelsono00feit/page/n408" target="_blank" rel="noopener">at least partly grounded</a> in his temperamental personality, but they were ambitiously expressionist in their conception. Of a 1931 show at the New Art Circle, New York City, one critic wrote of his circus paintings that Hondius was “a painter not of the picturesque, but of the pictorial, of those moments when forms suspended in space describe an arabesque, an arabesque slightly twisted through strain, caught in no flashy decorative way, but rather enmeshed in those filaments of imperctibly changing light and color which only the artist’s eye can detect. In this transformation of the swift pace of the circus into something which at first seems an arresting of all movement, and is then seen to be a far subtler suggestion of the endless flow of matter, from its densest to most volatile form, there is a touch of melancholy, just as there is a somber tinge in the reflections of Lucretius on the nature of things” (Klein). 3 works at <a href="https://americanart.si.edu/artist/gerrit-hondius-2284" target="_blank" rel="noopener">Smithonsian American Art Museum</a>. 1 work at <a href="http://collection.whitney.org/artist/618/GerritHondius" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at the <a href="https://www.paam.org/collection/hondius-2180-pa13/" target="_blank" rel="noopener">Provincetown Art Association and Museum</a>. 12 works at <a href="http://bentonart.uconn.edu:1025/THA633?sid=2472&x=50108" target="_blank" rel="noopener">Benton Museum Art Collection</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-18">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/gerrit-hondius-papers-7796" target="_blank" rel="noopener">Archives of American Art</a>. Source Consulted: Jerome Klein, “Paintings of Hondius in New York,” Baltimore Sun 15 Feb. 1931: 71. Federal Art Project Gerrit Hondius New Deal Gallery painting