47 10 1321 https://openvalley.org/files/original/e6ca071a842658d440d1ff471fda7163.JPG a88e86a875c200612ee23066625d09da Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Montauk, Long Island Creator An entity primarily responsible for making the resource Tryon, Dwight William, 1849-1925 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 <a href="https://commons.wikimedia.org/wiki/File:Montauk,_Long_Island,_New_York,_by_Dwight_William_Tryon,_1874,_oil_on_canvas_-_New_Britain_Museum_of_American_Art_-_DSC09250.JPG" target="_blank" rel="noopener">Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 3 MB Description An account of the resource Painted in a luminist style, vividly breaking waves contrast with shadows on dunes; a play of light and shadows upon gently billowing clouds parallels this juxtaposition overhead. In a feature typical of marine art from this time, the tiny sails of ships--whether illuminated or shadowed by clouds--are used as a reference to indicate distance and point toward the infinite sea. At the time of this painting Tryon was 25 years old and recently had decided to become a professional artist. He went on to a long career, albeit one quite different in pictorial style after studying in Europe. Dwight William Tryon Long Island Montauk, NY painting Watersheds https://openvalley.org/files/original/1b31cdedd4f7851e611ebd3aeb8912e6.jpg 8efb618f530b707cac9af0d592c6db3f https://openvalley.org/files/original/d8049bd7f651ef45661ee684a07f6a3c.jpg a0ccba98de88f2b4b1f7d8eccfdee05f 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 Postcard Physical Dimensions The actual physical size of the original image 3 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 Main Street, Looking South, Geneseo NY Creator An entity primarily responsible for making the resource Curt Teich Co. Date A point or period of time associated with an event in the lifecycle of the resource 1920-1930 Postmarked 1959-03-19 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 846 KB jpeg, 280 KB Type The nature or genre of the resource Still image Description An account of the resource The distinctive "Sky Tint" blue of this postcard probably dates it to the 1920s, and in confirmation we see both horse-drawn wagons and automobiles on Geneseo's (as-yet unpaved) Main Street. At left is the sign of Frazer, Green & Leadinham's hardware store, a barber pole visible in front. At postcard's center is the Emmeline Austin Wadsworth fountain, dedicated in 1888 and better known as the Bronze Bear. Bronze Bear Geneseo, NY Post Card Watersheds https://openvalley.org/files/original/da6173da509a6733f65df7e9d3314e77.jpg 08ba92a782f43bf70934b351a0b6f35a 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 20 in. Condition: stained, surface dirt, scratches 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 Canal 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 #FA18116 Format The file format, physical medium, or dimensions of the resource jpeg. 849 KB Description An account of the resource A canal of water fills the foreground of this humble scene; red, white, and blue buildings fill the middle and background. Bright whites and blues of the sky and water fill a majority of the frame, which is split in half by a wooden bridge and its pilings. Mostly earthy colors are used, and there are visible brush strokes. About the Artist: Born in Dublin, OH, Bentz grew up in Columbus and eventually moved to New York. As a teenager, he worked in his uncle’s photograph gallery and his talents were such that he was encouraged to attend art school—first at the Columbus Art School, then later at the Pennsylvania Academy of Fine Arts and the Art Students League in New York. He studied with Herman F. Deigendesch,<a href="https://en.wikipedia.org/wiki/Kenyon_Cox" target="_blank" rel="noopener"> Kenyon Cox</a>,<a href="https://en.wikipedia.org/wiki/William_Merritt_Chase" target="_blank" rel="noopener"> William Merritt Chase</a>, and<a href="https://en.wikipedia.org/wiki/Thomas_Pollock_Anshutz" target="_blank" rel="noopener"> Thomas Pollock Anshutz</a>. Bentz was a sought-after portrait painter, especially in miniatures on ivory, whose clients included many wealthy families: the Vanderbilts, the Goulds, and the Morgans. Later Bentz was a well-regarded restorer of paintings, including those of Rembrandt, Goya, and Benjamin West. At New York City Hall in 1946 he restored 25 paintings that had been in storage during World War II, including John Trumbull’s portrait of<a href="https://www1.nyc.gov/site/designcommission/public-programs/city-hall/portraits/portrait.page?portraitId=102" target="_blank" rel="noopener"> George Washington</a> (New York Daily News 20 Jan. 1946: 102). Between 1914 and 1930 he was a portrait photographer in New York and Leonia, NJ. Bentz worked at the National Academy of Design and, according to a pupil named Alice Dibble, at the Brooklyn Museum. There is a tantalizing reference to Bentz having painted murals, “putting in one building alone six paintings each fifteen by twenty-five feet in size” (Hackensack, NJ Record 10 Sept. 1926: 6). 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-40" target="_blank" rel="noopener"> FAP</a>. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 026 Creator An entity primarily responsible for making the resource Bentz, John Fitzhenry, 1858-1950 Federal Art Project John Bentz New Deal Gallery painting https://openvalley.org/files/original/61fc64694dd069d264cf0b5aef6523fe.jpg b08300c473dcc1cfe2bd7651ba543417 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: small tears, 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 The Acacia Plant Creator An entity primarily responsible for making the resource Bernstein, Meyer, 1904-1973? Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) 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 #FA18117 Format The file format, physical medium, or dimensions of the resource jpeg. 806 KB Description An account of the resource Either a table or chest is the resting place for a ceramic pot holding an acacia plant, a decorative bottle of wine, and possibly apples or peaches. Blues and reds are the two main colors, with white accents in the plant and the jug. One apple is balanced on two others while also leaning on the jug. The table is either painted with simlar colors or is glass and reflecting the objects. About the Artist: Born in Philadelphia, there is little biographical information on Bernstein. In 1932, he showed his work at a small exhibition in Asbury Park, NJ with<a href="https://americanart.si.edu/artist/george-constant-975" target="_blank" rel="noopener"> George Constant</a>. For a show at Marie Sterner Gallery, he contributed “two original conceptions, brilliantly executed if in a decided macabre vein of fantasy” (New York Evening Post 12 Mar. 1932: 3). His chalk painting “Epitaph” appeared in a 1936-37 Museum of Modern Art show entitled<a href="https://www.moma.org/calendar/exhibitions/2823?locale=en" target="_blank" rel="noopener"> “Fantastic Art, Dada, Surrealism.”</a> Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 027 Federal Art Project Meyer Bernstein New Deal Gallery painting https://openvalley.org/files/original/2de85be6b508164a6fbb02b579f24a1c.jpg c19986691e3e2cf9cc90568f625374e4 https://openvalley.org/files/original/37e800c60cf42f4d2867be970e367906.JPG 653ce86ace3ab6739cc85a07c050b3f3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 23 x 19 in. Condition: surface dirt, torn, chipped and peeling paint 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 Boats Description An account of the resource Multiple small craft boats of different shapes, sizes and colors are moored alongside a wooden dock. The water is calm enough to see a green look-out tower, the blue sky, and white clouds in its reflection. The water level, however, appears to be low. Buildings, trees, and a small town occupy the background of this piece, including a large brick church at the top of the hill. Predominantly earth-toned, including various shades of greens, browns, and reds. Two American flags and two crosses prominently stand out, suggesting patriotism and religion. About the Artist: Born in Budapest, Hungary, Candell described <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-victor-candell-12351#transcript" target="_blank" rel="noopener">in an interview</a> how, as a boy, he was attracted to movie posters; by age 15 he already was a professional graphic artist, branching out to illustrations and caricatures in theater journals. Candell immigrated to America in the aftermath of World War I and the rise of fascism—although he returned to Paris during 1928-30 so as to educate himself via paintings (he called Cezanne and Degas “my teachers”). At that point Candell thought of himself as a cubist, the transiton from illustrator to painter influenced by Cezanne’s “direct contact with nature, still-life, figure, and all the rest of it, not on the academic level but on the level of just being confronted not so much with the idea or concepts of space or style but concrete reality and learn from it. This was my understanding that the great men had this as a kind of ante chamber to their main work” (“Oral History”). Candell immersed himself in self-guided study for 15 years, finally offering his first show at age 43. He was involved with the Whitney Studio project during the early 1930s and joined the Federal Art Project near its inception. In 1939, he contributed the political cartoon <a href="http://ufdc.ufl.edu/WOLF004747/00001/6j" target="_blank" rel="noopener">“That’s My Meat!”</a> to a pamphlet entitled 12 Cartoons Defending the WPA by Members of the American Artists Congress. His work was shown at the Whitney Museum of American Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Corcoran Gallery in Washington, D.C., and the Carnegie Institute. A respected teacher, Candell began this phase of his life teaching art to traumatized veterans at the Brooklyn Navy Hospital; in 1958, he and Leo Manso started the Provincetown Workshop—an art school modeled after the Cooper Union. Candell received numerous awards for his art work, including prizes from the Museum of Modern Art and the Unites States Treasury Department, the Emily Lowe Award, the Lamont Prize, and the Audubon and Silvermine Awards. 1 work at the <a href="http://collection.whitney.org/object/1551" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://www.metmuseum.org/art/collection/search/488885?searchField=All&amp;sortBy=relevance&amp;ft=candell&amp;offset=0&amp;rpp=20&amp;pos=1" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="https://www.paam.org/collection/candell-1431-pa97/" target="_blank" rel="noopener">Provincetown Art Association and Museum</a>. 60 images at <a href="http://www.nutshellarts.com/victor_candell.htm" target="_blank" rel="noopener">Nutshell Arts Center</a>. His papers are at <a href="https://library.syr.edu/digital/guides/c/candell_v.htm" target="_blank" rel="noopener">Syracuse Univesity</a>. Creator An entity primarily responsible for making the resource Candell, Victor, 1903-1977 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 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Caldwell, Julia (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Art Object #FA18128 Format The file format, physical medium, or dimensions of the resource jpeg, 838 KB jpeg, 9.7 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 038 Federal Art Project New Deal Gallery painting Victor Candell https://openvalley.org/files/original/219413a710bb346d6f8418f899b52074.jpg c72df985d81a2a6ac71c8026e4263bb0 https://openvalley.org/files/original/ac41e90455b3527f833b2fdda31b75bc.JPG e01d6db130846a4b21e0fdf0f1def43e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt 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 Autumn Bouquet Description An account of the resource We see a wooden table, whose surface appears to consist of different textures, one half smooth and the other ridged. It becomes the space for an arrangement of autumn flowers and leaves in a white ceramic bouquet vessel, flowers painted on the vase itself. It rests on the table unnaturally, appearing two-dimensional. Bright white, orange and yellows are contrasted with dark browns, red and coppers colors to complete this bouquet. As the fall flowers begin to droop, winter seems to be in the near future. Caloenesco's background space creates a frame for the bouquet with an off-white background surrounded by a beige border; almost replicating the shape of the vase itself. About the Artist: Born in Romania, Caloenesco— her name sometimes misspelled as “Aurica Calonesco”—studied at the Beaux-Arts School, Bucharest, and exhibited even during the German occupation. She traveled to Paris in 1918 on an art scholarhip and received guidance from Picasso, Utrillo, and Modigliani. In 1926 she married Robert C. Hallowell, who along with Walter Lippman and Herbert Croly founded the New Republic magazine (he had become an artist himself in 1925, devoting his energies to watercolors and portraits, including Theodore Roosevelt and the revolutionary John Reed). Caloenesco exhibited in Paris at the Salon des Artistes Independants and Salon de la Societe des Artistes Francais, 1922-1928, in New York City in solo shows and with her husband at the Montross Gallery (1929) and the Delphic Studios (1936). Responding to her 1931 show at Hartford’s Colonial Galleries a reviewer wrote: “Along with color and composition, she is preoccupied with line wherein can be found much of the beauty of her work. Her lines are always sweeping, flowing, and very live. Most of her pictures are flat, with no attention to the tricks of achieving three dimensional effects by the use of light and in accordance with the school which claims that two dimensional canvas should be used to represent two dimensional things” (Hartford Courant 23 Mar. 1931: 2). During 1935-36 Robert Hollowell served as assistant to the director of the Federal Art Project; he died in 1939 while working on a mural. 4 images at University of St. Joseph <a href="http://artcollection.usj.edu/THA83?sid=36027&x=1572985" target="_blank" rel="noopener">Art Museum</a>. 1 work at <a href="https://libraryguides.lib.iup.edu/c.php?g=419334&p=2905115" target="_blank" rel="noopener">Indiana University of Pennsylvania</a>. Creator An entity primarily responsible for making the resource Caloenesco, Aurelia, 1895-1968 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Caldwell, Julia (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 #FA18127 Format The file format, physical medium, or dimensions of the resource jpeg, 905 KB jpeg, 12.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 037 Aurelia Caloenesco Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/072ab163baac1404844ddf64fc746f0f.jpg 2b84cbdaebaee986937d2effc88457a9 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 19 x 23 in. Condition: surface dirt, spotted Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Birches in the Breeze Creator An entity primarily responsible for making the resource Andrews, Robert [D.] 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 #FA18111 Format The file format, physical medium, or dimensions of the resource jpeg, 986 KB Description An account of the resource Naturalistic landscape of idyllic lake is complicated by Andrews' use of impressionist blocks of color that flatten the picture plane into birch trees and a diorama behind them. Their leaf color suggests a time of late summer which, if true, helps explain a brown falling leaf suspended in the moment. About the Artist: We haven’t located much reliable information about this artist. He studied at the Art Students League and exhibited with the Salons of America and the Society of Independent Artists durin the early 1930s. Please contact us if you're able to help. Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery painting Robert Andrews https://openvalley.org/files/original/7b3933cef0ebaf247aa8410cbe00de51.jpg 2a892c748b715687969038ab2119b444 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 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 Still Life With Wildflowers Creator An entity primarily responsible for making the resource Blumenfeld, Maurice 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) Cannioto, Sydney (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object #FA18118 Format The file format, physical medium, or dimensions of the resource Jpeg, 849 KB Description An account of the resource This painting features a vase of flowers and a spilling fruit bowl on an upholstered chair. The left half of the painting is busier than the right, which gives a sense of unbalance. Warm colors are used, such as reds and pinks, and brush strokes are visible. The objects seem stranglely placed and slightly disharmonious, as vases and fruit bowls are not usually displayed on chairs.  About the Artist: Born to Russian parents in Tours, France, Blumenfeld immigrated to Brooklyn when he was three years old. He was a child prodigy, painting oils in his bedroom by age 10 and giving one of his paintings to President Franklin Roosevelt at age 15. In 1936, at age 17, Blumenfeld submitted his oil painting “Refreshments” to a prestigious National Academy of Design contest; the committee, apparently mistaking him for a messanger, awarded the work its Julius Hallgarten prize for artists under 35. Meanwhile, Blumenfeld was president of his high school oil painting club and voted “most modest boy” by its senior class (Brooklyn Daily Eagle 17 Mar. 1936: 3). After graduation, Blumenfeld worked for the Federal Art Project before enlisting in the US Army in 1940. After World War II, becomes a commercial artist for Triple Nickel Books (on its Davy Crockett series); for Topps Baseball Cards (in 1953); and Topps Trading Cards including Western Round Up, Mars Attacks, Battle, Batman, and Civil War News. Many of these series now are highly sought after by collectors. 1 work at the <a href="https://www.nga.gov/collection/artist-info.7269.html" target="_blank" rel="noopener">National Gallery of Art</a>, which was created for the <a href="https://www.nga.gov/collection/artist-info.7384.html" target="_blank" rel="noopener">Index of American Design</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-6" target="_blank" rel="noopener">FAP</a>. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 028 Federal Art Project Maurice Blumenfeld New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/07da104bed1027ebaa6c690d6499f665.JPG f1b7eeba0b8426112bc008c68091d0c4 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: slightly pitted 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 Mountain Torrent Description An account of the resource A cascade of water runs diagonally in Widlizka’s composition, separating two areas of trees standing on what appears to be rocky foundation. Much of the water is obscured by the trees, several of which are very dark green with some lighter shades behind them. It is hard to see what lies in the background, rendering the source of this torrent more obscure and mysterious. About the Artist: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener">FAP</a>. Source Consulted: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>. Creator An entity primarily responsible for making the resource Widlizka, Leopold Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bang, Jay (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 #FA18368 Type The nature or genre of the resource Still Image 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 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Identifier An unambiguous reference to the resource within a given context 196 Federal Art Project Leopold Widlizka New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/b055b391edcc54322b38ce151e7078e4.jpg ac260e7176504964071c1135a8f6665e 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 19.5 in. Condition: slightly chipped, paint thinning 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 Chrysanthemums Description An account of the resource Alger paints a beautiful bouquet of pink, red and yellow chrysanthemums in a yellow vase. What strikes you immediately is the balance of his painting, the chrysanthemums rising symmetrically to fill the frame, their leaves drooping down to further balance the frame and fill negative space. The colors, too, are congruous: vibrant reds and fuchsias of the chrysanthemums are complemented by softer yellows of their discs and the vase; lush greens are contrasted by the dry brown of dying leaves. Alger's brushwork is visible enough to be striking, but he blends enough that the strokes are soft on the eye. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John, 1879-1967 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? Contributor An entity responsible for making contributions to the resource Abigail Ritz (photography) Nicholas Vanamee (biography) Ken Cooper (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18104 Format The file format, physical medium, or dimensions of the resource jpge, 720 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 014 Chrysanthemums Depression Era Art Federal Art Project John Alger New Deal Gallery painting still life