44 10 1402 https://openvalley.org/files/original/63e01f73188575b442ebad1c7ef42b0b.jpg e283d69a9cc64f3c55838d855b2397c8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map 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 Map of the Village of Saratoga Springs and Vicinity Creator An entity primarily responsible for making the resource A. R. Lawrence and Co. Publisher An entity responsible for making the resource available D. Appleton and Company Date A point or period of time associated with an event in the lifecycle of the resource 1873 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Geo. E. Walton, MD, <a href="https://archive.org/details/mineralspringsof01unse/page/168" target="_blank" rel="noopener">The Mineral Springs of the United States and Canada, with Analyses and Notes on the Prominent Spas of Europe, and a List of Sea-Side Resorts</a> (D. Appleton and Company, 1874): following 168. Courtesy Open Knowledge Commons and Yale University, Cushing/Whitney Medical Library, via Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 782 KB Description An account of the resource "In point of merit," writes Dr. George E. Walton in his survey of mineral springs, "the Saratoga waters equal, if they do not surpass, any of the kind in the world." By 1874 this village in the Upper Hudson River Valley had become a fashionable destination for (usually wealthy) individuals seeking its therapeutic mineral waters. Map of the village shows more than twenty named springs, along with many hotels, performance halls, parks--and the rail lines transporting its many visitors. Map Mineral Springs Saratoga Springs Spas Watersheds https://openvalley.org/files/original/b0713e5356627cd5efdb2ef012ef64eb.jpg 57c8eb443744fbc45923ca2ffac92a7e Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 8 x 10 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 Painter Charles Polowetski Description An account of the resource Promotional photo shows Federal Art Project painter in his studio putting the final touches on his portrait of Floyd Bennett, created for a new airfield near Brooklyn named after the aviation pioneer. A World War I pilot, Bennett was best known for his 1926 flight to the north pole with Adm. Richard E. Byrd. According to a press release, the painting's background "depicts the icebergs and water in King's Bay near Spitzbergen in the Arctic region, and shows the airplane in which Byrd and Bennett flew over the Pole." Polowenski (1884-1955) was a Polish immigrant who studied painting in New York and then in Paris. Although an accomplished landscape painter--his 1936 "Spring in Central Park" is at the New Deal Gallery--he was most in demand for his portraiture. Publisher An entity responsible for making the resource available National Air and Space Museum, Smithsonian Institution, Photograph No. 86-32, 785 Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Reprinted in Judith Quinn, <a href="https://archive.org/details/historicstructur00quin/page/266" target="_blank" rel="noopener">Historic Structure Report: The Administration Building (The Ryan Center), Gateway National Recreation Area, Floyd Bennett Field Unit</a> (US Dept. of the Interior, 2000): 266. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 435 KB Type The nature or genre of the resource Still image Charles Polowetski Federal Art Project Floyd Bennett New Deal Gallery https://openvalley.org/files/original/265bb308735f8b7a3c8cfcfc76f67f9e.jpg f92936d3c5957786b3702ea4b60ebfd1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 2 x 3 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 Painter Claude A. Patterson Description An account of the resource Artist best known for his landscape paintings is shown here at about age 28, in a yearbook photo from Monmouth College, IL. At the time Patterson was an "instructor of water color and drawing." He went on to teach at many other colleges to help finance his artistic pursuits. During the 1930s Patterson was employed by the Federal Art Project, and five of his works are at the New Deal Gallery, Mt. Morris. Publisher An entity responsible for making the resource available Monmouth College Date A point or period of time associated with an event in the lifecycle of the resource 1915 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ravelings: Year Book of Monmouth College 22 (1915): 7. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 284 KB Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Painter https://openvalley.org/files/original/ec2ad0d4a93a7733f263da608bda4e80.jpg 516c39baf2254d902b427e9ca232c277 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 9.5 x 33 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 Genesee River View Publisher An entity responsible for making the resource available Haines Photo Co., Conneaut, Ohio Date A point or period of time associated with an event in the lifecycle of the resource 1914 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.loc.gov/item/2007662056/" target="_blank" rel="noopener">Courtesy Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA</a> Format The file format, physical medium, or dimensions of the resource jpeg, 896 KB Type The nature or genre of the resource Still Image Description An account of the resource Wide-angle panorama of looks west where the Erie Canal crosses the aqueduct at present-day Broad Street. Its course points toward the tower of Rochester's city hall. Directly across the Genesee we see factory of Cluett Peabody & Co., manufacturer of Arrow Shirt Collars; the smokestack to its right is topped by a statue of Mercury, created in 1881 for the Kimball Tobacco Co. formerly at this location. To the left, Court Street Bridge has railroad terminals on either side of the Genesee: on this side, the Lehigh Valley (still standing today as Dinosaur Bar B Que restaurant); on the far side the Erie Railroad. The sign at near right for the "People's Safety Show" probably dates the photo to 1914, advertising an exposition on worker safety at the Rochester Convention Center. Cluett Peabody & Co. Erie Canal Erie Railroad Genesee River Lehigh Valley Rail Road Rochester, NY Watersheds https://openvalley.org/files/original/afa6eb9cfbcd36f32a25d9df0a76850b.jpg 28ae7bcf838be8eee0f07ffc825182cb 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 39.5 x 63.25 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 View of Schroon Mountain, Essex County, New York, After a Storm Creator An entity primarily responsible for making the resource Cole, Thomas, 1801-1848 Date A point or period of time associated with an event in the lifecycle of the resource 1838 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Hinman Hurlbut Collection, <a href="https://www.clevelandart.org/art/1335.1917" target="_blank" rel="noopener">Cleveland Museum of Art</a> Format The file format, physical medium, or dimensions of the resource jpeg, 971 KB Type The nature or genre of the resource Still image Hoffman Mountain painting Schroon Mountain Thomas Cole Watersheds https://openvalley.org/files/original/674045e3628805ad537847f76ef1754b.jpeg 0bdc0be1f9ee6957a19d316827133193 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 3.25 x 10.75 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 Pickerel (Lucius reticulatus. Le Sueur) from the Upper Hudson River Creator An entity primarily responsible for making the resource Denton, Sherman F. Publisher An entity responsible for making the resource available Commission of Fisheries, Game, and Forests, State of New York Date A point or period of time associated with an event in the lifecycle of the resource 1896 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://babel.hathitrust.org/cgi/pt?id=hvd.32044106352289;view=2up;seq=4" target="_blank" rel="noopener">First Annual report of the Commissioners of Fisheries, Game and Forests of the State of New York </a>( Wynkoop Hallenbeck Crawford Co., Printers, 1896): following p. 124. Format The file format, physical medium, or dimensions of the resource jpeg, 190 KB Type The nature or genre of the resource Still image Description An account of the resource Illustration is one of several intended to clarify for fishermen the difference between pike, pickerel, pike-perch, and muscalonge. From a contemporary perspective, however, what's striking is the serenity with which species were cultured and introduced into new habitats. We learn that the state hatches 3 million muscalonge annually in Chautauqua Lake, and that the pickerel depicted here was introduced into the Upper Hudson river in 1885. Fish Hudson River Pickerel Watersheds https://openvalley.org/files/original/46f93708111524d4581ca7b5a8209b1c.JPG 85752f94ac708f5fa8cf92fc4e240dd9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource May Flowers Creator An entity primarily responsible for making the resource Swisher, Allan (1888-1960) 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) Closser, Paige (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18277 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Description An account of the resource A table is the support for a grecian looking vase containing flowers including carnations, daisies, irises, lilies, and babies breath. These colorful flowers stick out against a dull brown background. Some of the flowers are noticeably droopy and the shading shows there is light hitting the vase from the left. About the Artist: Born in Gypsum, KS, Swishers appears to have been somewhat of a provocateur from a young age; he started his own newspaper at age eleven and by the next year had been made an honorary member of the State Editorial Association. He studied with Harry M. Walcott at the Art Institute of Chicago, and later with <a href="https://en.wikipedia.org/wiki/Jean-Paul_Laurens">Jean-Paul Laurens</a> at the Académie Julian, Paris. In Chicago, he was among a group who formed the Independent Art Society, seeking representation for local painters (Chicago Tribune 26 Feb. 1916: 11). His works were exhibited at places like the Art Institute of Chicago, the Carnegie Institute, the Whitney Museum of American Art, and the National Academy of Design. For a time Swisher taught art at the University of Kentucky, meanwhile supplementing his income through portrait painting. Judging from peppery letters to the editor over the years, Swisher never lost his interest in the life of a newspaperman. 14 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-30">FAP</a>. Identifier An unambiguous reference to the resource within a given context 184 Allan Swisher Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/da587bf432101eed0fbd7160f12e4db8.JPG 67d1d879d97c1f76a4196a23feeebe05 https://openvalley.org/files/original/4dfe14c29c78d150b4f42d939ee89613.JPG f37d97e6e6198cc6be74372875cf285b 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 24 in. Condition: surface dirt, pin holes 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 Anemones Creator An entity primarily responsible for making the resource Stefano, Berthe Publisher An entity responsible for making the resource available Federal Art Project Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Counsel on the Arts Object #FA18275 Date A point or period of time associated with an event in the lifecycle of the resource 1935-1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Caldwell, Julia (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.5 MB Type The nature or genre of the resource Still image Description An account of the resource A table, whose covering appears to have been warped, becomes the space for an arrangement of anemones in a copper vase suspended by a thin spiraled black steel stand. An ashtray accompanies the flowers on the table, standing in the foreground. Cool blues and greens are incorporated on the ashtray, and deep purple, reds, and greens predominate in the flowers. An excess amount of leaves, uncommon for anemones, are included in the bouquet, spiraling down the vase and onto the ashtray. The structured, stable and neutral background space, combined with the possibly unstable vase and table, juxtaposes the stability of the space and time period as a whole. About the Artist: We haven’t located much reliable information about this artist. Please contact us if you’re able to help. 2 works, as Bertha Stefano, for the <a href="https://www.nga.gov/collection/artist-info.8247.html" target="_blank" rel="noopener">Index of American Design</a>. Identifier An unambiguous reference to the resource within a given context 182 Berthe Stefano Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/9d828cb37fc0016ce86a3a3ff153af72.jpg bd28f138313e761dbced81e2f2356b1b 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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 38.5 x 51 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 Upper Falls of the Genesee at Rochester NY from the East Creator An entity primarily responsible for making the resource Young, John T., 1814-1842 (artist) Bufford, John Henry, 1810-1870 (lithographer) Publisher An entity responsible for making the resource available C & M Morse Date A point or period of time associated with an event in the lifecycle of the resource 1836 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. "[The upper falls of the Genesee at Rochester N.Y. from the east.]" The New York Public Library Digital Collections. http://digitalcollections.nypl.org/items/510d47d9-7c25-a3d9-e040-e00a18064a99 Format The file format, physical medium, or dimensions of the resource jpeg, 906 KB Type The nature or genre of the resource Still image Description An account of the resource Somewhat idealized view of Rochester's High Falls has cattle grazing peacefully in the foreground of this print. The "Mercury" statue at rear center, however, dates the scene after 1881--which is when the Kimball Tobacco Factory commissioned it. By that point the High Falls area already had many more factories and mills than is pictured; the area had been an industrial center for several decades. Genesee River High Falls Rochester, NY Watersheds https://openvalley.org/files/original/ef459343545f8528f57c64074b00876d.JPG 368c36020d31be71317b3006b7e7347d 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 24 in. Condition: slightly pitted, 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 Central Park Creator An entity primarily responsible for making the resource Spurbeck, John S., 1911-1993 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 (photographer) Sheedy, Marianna (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18274 Format The file format, physical medium, or dimensions of the resource jpeg, 979 KB Type The nature or genre of the resource Still image Description An account of the resource The painting captures NYC’s Central Park on a shadowy afternoon. Cool purples, blues, and greens make up the majority of the image. Trees, bushes, and greenery blend into buildings and cares that make up the city skyline in the background, producing a sense of fluidity. In the foreground, a bridge with coursing river underneath divides the painting. Behind the bridge, the perspective appears to be flattened, almost as if to create dissonance. About the Artist: Born in Duluth, MN, where his father worked as a train dispatcher for the railroad, Spurbeck studied at the Minneapolis School of Art and later at the Art Institute of Chicago. In 1935 he relocated to New York, producing work in oils, water colors, and portrait sketches. It is possible that Spurbeck may have spent some time at the University of Rochester before eventually relocating to Maryland. In 1940 he took a position as director of the illustration division at the Johns Hopkins University, working both an artist and <a href="https://pdfs.semanticscholar.org/5db4/596005924d5b8a51b9b1d90f333926f43c54.pdf" target="_blank" rel="noopener">photographer</a> for the biology department, contributing medical illustrations of equipment and specimens. Spurbeck’s wife, Mary (née Rawles), worked as a staff member for the <a href="https://onlinelibrary.wiley.com/doi/pdf/10.1002/aja.1000970104" target="_blank" rel="noopener">embryology department</a> of the Carnegie Institution of Washington, which was also located on the Johns Hopkins campus. The couple retired together in 1966 to Emporia, VA, Mary’s hometown, where he continued to paint, draw, and sculpt. Identifier An unambiguous reference to the resource within a given context 181 Federal Art Project John Spurbeck New Deal Gallery painting