47 10 1402 https://openvalley.org/files/original/df165a03bddff6c2af91a0b098723308.jpg 115d78beaf1ca0a380011ca398eb0d5c https://openvalley.org/files/original/bb9fd824ceec74d543d77dbd0e9638b1.jpg 66657e4a9057e1ca033150e3c61114e5 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Print: 10 1/2 x 14 x 10 1/2 in. Framed: 17 1/4 x 21 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 Headed South Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 773 KB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 34 images at <a href="https://art.gsa.gov/people/47/mabel-dwight/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) 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 c. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1211 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight Marine Art New Deal Museum https://openvalley.org/files/original/cc34139b4f2e79ef6d08b86e2dd52541.jpg ca65b0e2847714b3948fad49c5e9328c https://openvalley.org/files/original/515a9f0f3b555f5a7467fe84b230123c.jpg dec36e3f41232109ae36e41e7bf346fc 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 29 1/4 x 35 3/8 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 Hendrik Hudson Bridge Description An account of the resource We behold an arch bridge under construction in a seemingly non-urban setting, its steel ribs elevated over gray flowing water underneath—perhaps indicating that a large boat has just passed underneath. The area surrounding the bridge contains greens that contrast the industrial aspects of the bridge itself, but we also see large buildings in the background. Color is an important element of this piece. Compared to <a href="https://en.wikipedia.org/wiki/Henry_Hudson_Bridge#/media/File:Henry_Hudson_Bridge_HH_RAS_6_19_1936.jpg" target="_blank" rel="noopener">photographic records</a> of the Hudson construction, De Felipe’s painting seems to be an parable of industrialization, shown through color contrast. The orange of the bridge and buildings versus the green of the trees in the background is juxtaposes industrial structures and natural life. The gray values at the top of Felipe’s painting indicate a moving cloud of smoke that further provides juxtaposition of the natural and industrial worlds. This disparity is also expressed through the sharp lines of the bridge that abruptly cut through the natural background. The piece provokes the viewer to consider the glaring imposition of industrialization on the natural world. The contrast between the bridge in the foreground and the natural world surrounding it indicate a misplacement of industrial life. Originally painted in the 1930s, this piece is likely a commentary on the era of industrial expansion in America. Note: In 2023, the General Services Administration’s Office of Inspector General <a href="https://www.gsaig.gov/sites/default/files/semiannual-reports/GSA-OIG-SAR-Spring-2024.pdf">recovered this painting</a> and returned it to the New Deal Museum in Mount Morris, NY. About the Artist: Juan de Felipe was born in Guanajuato, Mexico in 1904. He then travelled from Juarez to New York City in 1919, where he would remain for much of his life. During his time in New York, he was recognized in galleries and received awards. He won the Art Students’ League Fellowship from the <a href="https://brooklynrail.org/2019/04/artonic/Louis-Comfort-Tiffany-Foundation/" target="_blank" rel="noopener">Tiffany Foundation</a> in 1929, which provided living quarters and facilities for easel painters. After he received the fellowship, he took part in the annual exhibition of the Society of Independent Artists in New York City in 1930. Evidence of his presence in the New York art scene reappears in 1937 when he took part in two exhibitions: a show sponsored by the left-wing Artists’ Union at the New School for Social Research; and the Pink Slips Over Culture exhibition in 1937, which showed pieces from artists who had been fired from the Federal Art Project—many for lacking U.S. citizenship (. This reminds us that de Felipe likely encountered discrimination throughout his career, for example in 1930 a New Yorker critic calling him their “favorite Primitive” (Pemberton). By 1937, pressures for cutting the Federal Art Project became prominent, with over 600 New York artists removed from the relief program. In response, the Artists’ Union organized sit-ins to protest program cuts, including those who took part in cultural projects. Years earlier, de Felipe’s first opportunities had come through the Society of Independent Artists, which advocated for a “no judge, no prize” acceptance criteria where all art submitted to the organization was accepted no matter the artist’s experience or success. Today, virtually all of his art is lost to history. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-5" target="_blank" rel="noopener">1 image at FAP.</a> Works Consulted: Margaret Breuning, “Group Exhibitions Feature the Week and Indicate Closing of Art Season” (New York Evening Post 11 May 1929); Digital Museum of the History of Japanese in NY, “September 1937 Exhibition of Asian Artists Excluded from the WPA” <a href="https://www.historyofjapaneseinny.org/japanese-artists-during-the-prewar-period-in-new-york-city/stories/chapter-6-american-artists-congress-and-new-york-civic-art-exhibition/visit-exhibition-1936-1940/december-1937-in-defense-of-world-democracy-an-exhibition-dedicated-to-the-people-of-spain/" target="_blank" rel="noopener">Link</a>; Jacob Kainen, “Dismissed Artists Give ‘Pink Slip’ Exhibition” (Daily Worker 24 July 1937: 7) <a href="https://archive.org/details/per_daily-worker_daily-worker_1937-07-24_14_176/page/n6/mode/1up" target="_blank" rel="noopener">Link</a>; Jerome Klein, “The Critic Takes a Glance Around the Galleries” (New York Post 3 June 1937); Henry McBridge, “Grand Central Palace Well Suited for Their Display” (The New York Sun 8 Mar. 1930); Elizabeth McCausland, “Save the Arts Projects” (The Nation, 17 Jul. 1937); Gerland M. Monroe, “Artists on the Barricades: The Militant Artists Union Treats with the New Deal" <a href="https://www.darkmatterarchives.net/wp-content/uploads/2011/11/MonroeAAAJ1978.pdf" target="_blank" rel="noopener">Link</a>; New York Art Resources Consortium, “The Avant-Garde and the Society of Independent Artists” <a href="https://gildedage2.omeka.net/exhibits/show/highlights/movements/avantgarde">Link</a>; “News and Reviews of Books,” New York Sun 28 May 1930); Murdock Pemberton, “Metropolitan Mexicans” (New Yorker 1 Nov. 1930: 47-48) <a href="https://www.newyorker.com/magazine/1930/11/01/metropolitan-mexicans-fireworks-by-miro-the-popular-and-the-also-ran">Link</a>. Creator An entity primarily responsible for making the resource De Felipe, Juan (1904-?) 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 1935-1942 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 27875 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.6 MB Type The nature or genre of the resource Still image Artists Union Federal Art Project Hendrik Hudson Bridge Juan de Felipe New Deal Museum painting https://openvalley.org/files/original/3fc0f12a63f2fe0ac08492e9bca7ca8d.jpg 57fc547e5bc413edc38a898b8e8ee63c 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 High Banks, Mount Morris Description An account of the resource Scenic view from the northern end of present-day Letchworth State Park accompanied W. S. Ward's essay "The Valley of the Genesee." Creator An entity primarily responsible for making the resource Woodward, J. Douglas Publisher An entity responsible for making the resource available D. Appleton & Co, Publishers, New York Date A point or period of time associated with an event in the lifecycle of the resource 1874 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "Picturesque America; or, The Land We Live In. A Delineation by Pen and Pencil of the Mountains, Rivers, Lakes, Forests, Water-Falls, Shores, Cañons, Valleys, Cities, and Other Picturesque Features of our Country. With Illustrations on Steel and Wood. Vol 2. Ed. William Cullen Bryant. New York: D. Appleton & Co., 1874: 359. Format The file format, physical medium, or dimensions of the resource jpeg, 520 KB Type The nature or genre of the resource Engraving High Banks Letchworth State Park Mt. Morris, NY Viewpoints https://openvalley.org/files/original/19e38c09071c1ef76699a34aefefe947.jpg 75c6c72977257ea79b8b70106233b8e0 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 High Bridge Description An account of the resource Completed in 1848 as part of the Croton Aqueduct System, this structure originally spanned the Harlem River using 16 stone arches (later replaced by steel). At the time of Jacoby's painting, some 24 million gallons of water were passing over it every day. We haven’t located much reliable information about this artist. His work was exhibited at the Municipal Art Committee (1937). Judging from the locations of his paintings Jacoby seems to have lived in or near New York City. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-42">FAP</a>. Creator An entity primarily responsible for making the resource Jacoby, Samuel 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 Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 395 KB 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-11-folder-42" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 11, Folder 42.</a> Type The nature or genre of the resource Still image Federal Art Project High Bridge, New York Oil Painting Samuel Jacoby https://openvalley.org/files/original/74b341a9ebd619aaf167a0e6e1bb06bb.jpg bada3230c941db2acf8961b9394e53b7 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 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 High Falls of Genesee Description An account of the resource Original description reads "High Falls, The Crown Jewel of Brown's Race Historical District, Rochester, NY." Beginning in the 1990s the City of Rochester attempted to redevelop the former manufacturing area as a mixed housing and tourism district, with uneven results. It has had greater success with office tenants, but the desire for a wider public usage remains active. Creator An entity primarily responsible for making the resource Berger, Steven C. Date A point or period of time associated with an event in the lifecycle of the resource 2010 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://commons.wikimedia.org/wiki/File:High_Falls_of_Genesee_-_Rochester_NY_-_Browns_Race_Historical_District.jpg" target="_blank" rel="noopener">Courtesy of Wikimedia Commons, via CC BY-SA 3.0</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Genesee River High Falls Watersheds https://openvalley.org/files/original/debca70344efd902dca22aa6aa71ffbb.jpg e1e16398e438eb125da32eea5438a0e1 https://openvalley.org/files/original/eee809af0ba33f22234be649bcf99314.JPG 34b8c97715b60b650feb038dc7a7c519 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 Watercolor painting Physical Dimensions The actual physical size of the original image 19.5 x 23.5 in. Painting condition: paper buckled 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 High in the Tree Tops Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.2 MB Description An account of the resource We’re asked to adopt a perspective almost never accessible to humans: near the top of a tree, at close proximity to parrots. A light wash of cloudy white and blue in the background encloses the birds; their distinctive colors echo those of the tree’s leaftips and berries. An earlier New Deal Gallery inventory speculates that this is a rubber tree, and it does appear to be a Ficus of some variety. Patterson’s watercolor bears resemblance in its design to his <a href="https://openvalley.org/items/show/1216">Orioles</a>: a simplified canopy to better frame the birds, an emphasis upon their bright colors, and a use of foreshortening to bunch several birds closer together. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18378 Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/7b50bddd0655a024844bc05b066a073c.jpg e004db1c2b836bddbd008e8fdbc74869 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 High Torne https://openvalley.org/files/original/a8ab4b99f059a9d2c306b5b1e0291ca5.jpg b456386ac20c7e97a1e1cac4ceb2ecb9 https://openvalley.org/files/original/6888a89d0768d9f836d15c5b5d6d3274.JPG ef16973bd145a9179d37a5fda0b12dad https://openvalley.org/files/original/ac5903390c3f22a56c88ff51ccb2be93.jpg 5ff9fdf2600d14cb0b9704b16aa9d1b3 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 Highwater Format The file format, physical medium, or dimensions of the resource jpeg, 928 KB jpeg, 10.7 MB jpeg, 1.2 MB Description An account of the resource Given its light greens and the implied blossoms of field flowers, Patterson’s landscape may be set during springtime, in which case the lake pictured here still would be filled with meltwater. His fresh, pastel-shaded scene celebrates nature with any traces of the human carefully cropped out of visible range. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. 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 1937-04-27 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 #FA18232 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 139 Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/130d83376aaa91a3fb13df2aef98fd79.jpg 4f09c763bb1832b8dba241043ecc637f 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 Paper map Physical Dimensions The actual physical size of the original image 7" x 9" 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 Historic Mill Sites in Avon and Littleville, NY Description An account of the resource Beginning in the late 18th century, Conesus Creek and other waterways near Avon provided mechanical power for a variety of milling functions. This map shows the approximate locations of nine known mills in that area. Creator An entity primarily responsible for making the resource Cooper, Ken Adapted from a base map in Joseph Halbig, et al. Date A point or period of time associated with an event in the lifecycle of the resource 1974 (base map) 2015 (historical overlay) Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Joseph Halbig, et al. "Explanation and description of the overlay maps that illustrate factors of environmental importance in the town of Avon, Livingston County, New York (Geneseo, N.Y. : State University of New York College of Arts and Science, 1974) Format The file format, physical medium, or dimensions of the resource jpeg, 2.8 MB Type The nature or genre of the resource Still image Avon, NY Conesus Creek Littleville, NY Map Mill mills https://openvalley.org/files/original/d02c7cf5170e2902e88fadfa7929e72b.jpg e2aed3e96087c6f4312dee055e6634e2 https://openvalley.org/files/original/9c32694661370735549d6e9288ebcd13.jpeg f4855521db24908603b26e52173cc86a 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 Featured photography of the Genesee Valley Region. Description An account of the resource Genesee Valley, Geneseo, Mt. Morris, Letchworth, NY, State Park, Hogsback, Genesee River, photography,HDR,scenic,tourism,tourist attraction,hiking,camping Creator An entity primarily responsible for making the resource Walters, Keith Cooper, Ken Argentieri, Liz Root, Leah Date A point or period of time associated with an event in the lifecycle of the resource 2015-11-19 Contributor An entity responsible for making contributions to the resource Walters,Keith Root,Leah Source A related resource from which the described resource is derived Keith Walters Photography Format The file format, physical medium, or dimensions of the resource jpg, 3 MB Type The nature or genre of the resource Image 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 photo 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 Hogsback Overlook, Letchworth State Park Description An account of the resource Picturesque view from the Highbanks area overlooking the Genesee River, toward the Mount Morris end of park Creator An entity primarily responsible for making the resource Keith Walters Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Photo by permission of Keith Walters Type The nature or genre of the resource Digital photograph Genesee River Hogsback Keith Walters Letchworth State Park