46 10 1321 https://openvalley.org/files/original/de9e4396c2ed78fe59e0b00c3e208400.png 0ad9b2e4f0fdc6f1f377fbe4654e580b 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 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 Lo Pinto Illustration From Page 176 Description An account of the resource Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 479 KB Type The nature or genre of the resource Still Image https://openvalley.org/files/original/a58988c7d83cba97203e78a9153c14ea.jpg f1f4e20e13f24dcaa9f7f719419b0919 https://openvalley.org/files/original/5bb3b121fb65b7d5053e2ea46eabf2f2.JPG a8f42129268d398f2d825ac16114ed9b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: peeling, torn, crayon 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 Seascape Description An account of the resource It’s not impossible to render Lo Pinto’s scene in everyday terms: moored in a marina are several boats, two of them accessed by floating docks upon which a group of children are passing time dreamily. To describe it in such terms, however, would ignore the painting’s many surreal, even mystical elements. Why are some boats in full sail? Why do chains of rowboats—one in the foreground and four more in the distance—create angles in relation to the gangways? Do the colors here have any existence in the waking world? About the Artist: Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor <a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener">David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Court House in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at <a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 14 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener">FAP</a>. Source consulted: Archives of askART, including family papers courtesy of the artist's niece, Kathleen Lo Pinto Vignolini. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand, 1906-1980 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 #FA18200 Format The file format, physical medium, or dimensions of the resource jpeg, 808 KB jpeg, 9.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 107 Federal Art Project Ferdinand Lo Pinto New Deal Gallery painting https://openvalley.org/files/original/0148c5cc8c20c43d0f4ec34bf4fe413a.jpg fb8b18acf3c482ff07b9da7704b18ef5 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 Relics Skagway Alaska Description An account of the resource About the Artist: Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22"> FAP</a>.         Source consulted: Archives of askART, including family papers courtesy of the artist's niece, Kathleen Lo Pinto Vignolini Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand, 1906-1980 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 1938-6-29 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New York City W.P.A. Art Project Photography Division 110 King Street Accessed at:<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22</a> Format The file format, physical medium, or dimensions of the resource jpeg, 218 KB Type The nature or genre of the resource Photograph of a Painting https://openvalley.org/files/original/aa8bd4fed3c3f7aaeca1d7dbf96f5ae4.JPG 522bce62143e211fc242d295a221ab49 https://openvalley.org/files/original/b9dbbc1e6f6e453d5f5d58901fdf2dd3.JPG 1b93833950e4c2f8ad53f863d4b8fdd8 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: small tears, 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 Leeds Bridge Format The file format, physical medium, or dimensions of the resource jpeg, 961 KB jpeg, 12 MB Description An account of the resource Portions of the stone bridge depicted here date to 1760, when a wooden structure over Catskill Creek (in Greene County) collapsed; the rest was completed in 1792 and remains standing today. Lomoff renders virtually no straight lines in his painting, whose natural features all appear to be in gently waving motion—arguably including the bridge itself. Foliage grows on the structure, its stones are the same color as those in the river bed, and its arches subtly echo those of trees and mountains in the distance. Still waters create a reflection whose effect is to create a pair of portals through to some other side. About the Artist: Born in Sevastpool, Russia, Lomoff traveled to the US in 1912 and immigrated for good in 1925, where he found employment as (among other jobs) a sign painter. His Futurist-influenced works like “Mystery” and “Legend of Atlantis” began to appear in group shows by the late 1920s. Lomoff’s exhibited numerous times with the Society of Independent Artists between the mid-1920s and early 1940s. In 1934, as part of the Public Works of Art Project, he painted a mural titled “Nursery Tales” in the Children’s Hopital on Charity Island (now named Roosevelt Island). A visitor noted that “Upon a single panel you will often find as many as three or four artists working at the same time in a spirit of unimpeachable cooperation...the old guild idea, adapted to modern usage” (Jewell). In 1937, amidst Congressional cuts to the Federal Arts Project, he was among those painters  showing at a “Pink Slip Exhibition” in New York City. Subsequently, “Toilers of the Sea” appeared at the Brooklyn Museum (1943), and he was part of an innovative 1946 exhibit at Loew’s Mayfair Theatre in Times Square—which had been organized following Thomas Hart Benton’s statement that art should be in public places and not “buried in mausoleum-like art galleries.” A 1971 retrospective of his painting might well describe his NDG landscape: “The mystic element became strong, rocks and hills taking on human form, until each animistic landscape was alive with the impress of dark figures” (O’Doherty). 10 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/4052/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-19" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edward Alden Jewell, “The Waxing Mural Tide,” New York Times 19 August 1934: 133; Brian O’Doherty, “Dual Show at Riverside Museum,” New York Times 7 June 1961: 45. Creator An entity primarily responsible for making the resource Lomoff, Joseph, 1899-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18199 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 106 Catskill Creek Federal Art Project Joseph Lomoff Landscape Art Leeds Bridge New Deal Gallery painting https://openvalley.org/files/original/7b3b9f4dc837ccabaea0b5d8cb9ad192.jpg f7d446362625bab7abfa164427eed9f3 https://openvalley.org/files/original/cd82aa0069ac0f9ceee643965f234f04.jpg b28ef67bedf6928451bc1b6e743851f1 https://openvalley.org/files/original/cd2e63daaec2c7ed6ce4be04a3153b6c.jpg 771b4f05a6f28c7e9a4ba629fbeb6708 https://openvalley.org/files/original/90bcc1acda236b6291728342c81e4d35.jpg 27e8e48489a3850e1edfb47601e7359a https://openvalley.org/files/original/40054c483d778687e199596c1656853e.jpg aff9d5d4976e158d54605d1efb651068 https://openvalley.org/files/original/93c576df4f1eaeb8e342688d301eb97f.jpg ec055d1659df6c0a91f4e349b6034d69 https://openvalley.org/files/original/b0e93cdfe78f92b6bdffc106c1a74ba1.jpg 0584b779351dc315e8a40abb5bfc467f https://openvalley.org/files/original/29ee14a217a60859304a2dd18ca1145a.jpg 9cf4b40ed025a1efdfe6010df958d5ff https://openvalley.org/files/original/1882d96ee77fe30ade24e4a0d86ba015.jpg da9588c608ee707cb7980d6c2946a423 https://openvalley.org/files/original/b25ac123347b9574de1efb888e2fd0e8.jpg f97ced0d402dd71eaa8d66cda65a6f74 https://openvalley.org/files/original/3550f4e0a2a2604aaae27c6b24d806ba.jpg 7ea21b033638d44c6580a09c4fb17098 https://openvalley.org/files/original/616db391220d9d289d61c9054fd17d26.jpg f95a50c3b0eea9d273ae7566295bcefb https://openvalley.org/files/original/5241844e2c8e171c51d886cf085c10f1.jpg 54ab7daf05febe190c044ba97038f9da https://openvalley.org/files/original/ca84de9fd58211d7ff4b791fad9f6297.jpg bbd662681003f0f7a8d162f65b06d6ff https://openvalley.org/files/original/1e1f9e5ca822b71bad25c4d16789951f.jpg 72d9d3b47bd57c52d760345bb2412a98 https://openvalley.org/files/original/e49b747a04c05f2efd8a184b30999602.jpg 347f4417366f360d0ab6059b950e73ab https://openvalley.org/files/original/590fa028a7484fb1a8e108b976914ff3.jpg 27d1f580f984a9b4987f60fbb3df4955 https://openvalley.org/files/original/9f1399e17bb32fbd6d11ab2053d3e73f.jpg b74bdeeee67daed0cfc482be8eac45c8 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Historical Trees Description An account of the resource Set of 18 engravings that link American history to famous trees associated with those events. Published during the Civil War, the illustrations and accompanying essay often look backward to events during the American Revolution. First among equals is the Genesee Valley's Big Tree, described as the "most ancient of these living links of the Present with the Past" Creator An entity primarily responsible for making the resource Lossing, Benson J. Publisher An entity responsible for making the resource available Harper's New Monthly Magazine Date A point or period of time associated with an event in the lifecycle of the resource 1862-05 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "American Historical Trees," Harper's New Monthly Magazine (24.144): 721-740 Internet Archive Format The file format, physical medium, or dimensions of the resource 18 jpegs, each approximately 300 KB Type The nature or genre of the resource Engraving American Revolution Big Tree Civil War trees wadsworth https://openvalley.org/files/original/78f23efc90bdc58363aca7af2a025c83.jpg ec26618cbc0fa6ddaa230d17c41e1afa https://openvalley.org/files/original/7989687565a065b8bee4eb7883ff07ab.jpg d8aac3ca6e11b4bceb7a6bf988c3c2aa Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Physical Dimensions The actual physical size of the original image 18 x 23 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 Big Tree Description An account of the resource Famous swamp white oak alongside the Genesee River gave its name to a Seneca village and chief. This engraving was executed just a few months before the tree blew down in an 1857 storm, and was included in his essay "American Historical Trees" Creator An entity primarily responsible for making the resource Lossing, Benson J. Date A point or period of time associated with an event in the lifecycle of the resource 1857 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Bernard Lossing, "American Historical Trees," Harper's New Monthly Magazine 24.144 (May 1862): 721 Courtesy Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 585 KB jpeg, 1.2 MB Type The nature or genre of the resource Engraving Publisher An entity responsible for making the resource available Harper's New Monthly Magazine Big Tree trees https://openvalley.org/files/original/ed093f40ae4191dda5cf128b2542cf65.jpg 42e0dbf7ced5a5d243289afd923ee428 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Physical Dimensions The actual physical size of the original image 3.5 x 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/. Title A name given to the resource Fort Niagara, from Fort George Creator An entity primarily responsible for making the resource Lossing, Benson J[ohn] (1813-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1868 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Pictorial Field-book of the War of 1812; or, Illustrations, by Pen and Pencil, of the History, Biography, Scenery, Relics and Traditions of the Last War for American Independence (Harper & Brothers, 1868): 274. Thomas Fisher Canadiana Collection, University of Toronto, via Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 930 KB Type The nature or genre of the resource Still image Description An account of the resource This site at the mouth of the Niagara River always has had a strategic importance: prior to European contact as the beginning of a portage around impassable rapids and falls; then as the French Fort Conti built in 1678; then as a reconstructed Fort Denonville in 1687. It was captured by the British in 1759 during the French and Indian War, then played a key role as a Tory staging base during the Revolutionary War. It was finally occupied by American troops in 1796. Lossing's illustration depicts Fort Niagara during hostilities of the War of 1812. English forces captured it in 1813, relinquishing control following the Treaty of Ghent in 1814. Today, the location is a popular tourist attraction, where one of the most striking features is a "French Castle" built in 1720 as an administrative and trading post. Fort George Fort Niagara Lossing, Benson Niagara River War of 1812 Watersheds https://openvalley.org/files/original/29e49cc5d41dda5fc156b52d29a101b3.jpg 4e3e937ea1f6a4d99ce4d6669d5c2572 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 6 x 8 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 Map of the Niagara Frontier Creator An entity primarily responsible for making the resource Lossing, Benson J[ohn] (1813-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1868 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Pictorial Field-book of the War of 1812; or, Illustrations, by Pen and Pencil, of the History, Biography, Scenery, Relics and Traditions of the Last War for American Independence (Harper & Brothers, 1868): 382. Thomas Fisher Canadiana Collection, University of Toronto, via Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 814 KB Description An account of the resource Overview map of important settlements, forts, trails, and battles during the War of 1812 along the Niagara River. Type The nature or genre of the resource Still image Lossing, Benson Map Niagara River War of 1812 Watersheds https://openvalley.org/files/original/a84ed76fc3894923f1835fbf8daa3e2a.jpg d701514bc3bada29ee5ddad7e01ea091 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Physical Dimensions The actual physical size of the original image 3.5 x 5 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 Port of Buffalo in 1813 Creator An entity primarily responsible for making the resource Lossing, Benson J[ohn] (1813-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1868 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Pictorial Field-book of the War of 1812; or, Illustrations, by Pen and Pencil, of the History, Biography, Scenery, Relics and Traditions of the Last War for American Independence (Harper & Brothers, 1868): 380. Thomas Fisher Canadiana Collection, University of Toronto, via Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Type The nature or genre of the resource Still image Description An account of the resource During the War of 1812, the outpost of Buffalo, NY was scarcely populated but of geographically of strategic importance. As Benson J. Lossing writes in his history, “At the time we are considering that frontier was sparsely settled. Buffalo was a little scattered village of about one hundred houses and stores, and a military post of sufficient consequence to invite the torch of British incendiaries at the close of 1813, when all but two dwellings were laid in ashes. It was only about sixty years ago that the tiny seed was planted of that now immense mart of inland commerce, containing one hundred thousand inhabitants. Where now are long lines of wharves, with forests of masts and stately warehouses, was seen a sinuous creek, navigable for small vessels only, winding its way through marshy ground into the lake, its low banks fringed with trees and tangled shrubbery. In 1814 it was a desolation, and the harbor presented the appearance delineated in the engraving on the following page” (379). Buffalo, NY Lake Erie Lossing, Benson Niagara River War of 1812 Watersheds https://openvalley.org/files/original/717a537dba9cf734f3c2fe5cecdc8130.jpg 029c2081bb634a4318f13fe17788c33c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Engraving Physical Dimensions The actual physical size of the original image 3 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 View from the Site of Vrooman's Battery Creator An entity primarily responsible for making the resource Lossing, Benson J[ohn] (1813-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1868 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Pictorial Field-book of the War of 1812; or, Illustrations, by Pen and Pencil, of the History, Biography, Scenery, Relics and Traditions of the Last War for American Independence (Harper & Brothers, 1868): 391. Thomas Fisher Canadiana Collection, University of Toronto, via Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 981 KB Type The nature or genre of the resource Still image Description An account of the resource Just prior to the War of 1812, British forces worked feverishly to control navigation of the Niagara River, posting batteries every mile along bluffs overlooking the gorge. The one pictured here was located close enough to the village of Lewiston that it was successful in harassing American forces during the war. The item shown here is described by Lossing: “The picture represents a view of the Niagara River and shores from Vrooman's Point. In the foreground are the remains of the battery. On the right is seen Queenston and the Heights, with Brock’s monument; on the left, Lewiston and its heights; and in the centre, Niagara River and the Lewiston Suspension Bridge. We are looking southward, up the Niagara River” (391). Lewiston, NY Lossing, Benson Niagara River War of 1812 Watersheds