48 10 1402 https://openvalley.org/files/original/49154db185819c0298f0fe9fed616b9e.jpg 147ac1adb4853a401fe46c448855aff3 https://openvalley.org/files/original/e80a6a10f6c02cd36ad4f0d63ecb9728.jpg 66ccccf74dca36f7126e0d71c743ec7e 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 Nitrate negative Physical Dimensions The actual physical size of the original image 2.25 x 2.25 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Once a Missouri farmer, now a migratory farm laborer on the Pacific Coast, California Creator An entity primarily responsible for making the resource Lange, Dorothea, 1895-1965 Publisher An entity responsible for making the resource available Farm Security Administration Date A point or period of time associated with an event in the lifecycle of the resource 1936-02 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.loc.gov/item/2017759832/" target="_blank" rel="noopener">Library of Congress item #2017759832/</a> Description An account of the resource Unidentified couple, displaced perhaps by drought, is one of thousands photographed by Lange during the 1930s. This item consists of the original photo and a cropped version created for the Green New Deal: Solastalgia exhibit. Format The file format, physical medium, or dimensions of the resource jpeg, 307 KB jpeg, 891 KB Climate Refugee Dorothea Lange Dust Bowl Green New Deal Photo https://openvalley.org/files/original/ae8478786f1f24c2b5082e23a21da6d7.jpg b75654895a07aff5e60d6691800e5ab4 https://openvalley.org/files/original/d7832d7f153165df9020db14c7984cd5.JPG f8de33647932fd7f5b3d77ba89f3ef89 https://openvalley.org/files/original/eb1b5942bf2074dc260ba42bc02e12d9.jpg 6144c5b353654d3a3f1abdb76ab62bdf 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: cracked paint, 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 Chinese Lantern Description An account of the resource An arrangement of dried stalks in a ceramic urn creates this dazzling play of colors and light. Its setting is a wooden table, Navaho-patterned weaving, and earth-colored walls; along with the bright light passing in through a curtain at left, the effect is one of the American southwest, whether the still life was painted there or not. The painting’s otherwise haphazard lines draw our eyes to one particular globe and its shadow at top center. About the Artist: Born in Elizabeth, NJ, to German parents Lange attended school abroad before returning in 1916 to study art at the Cooper Union, the Art Students League, and the National Academy of Design. In 1923 Lange was the focus of a major controversy: her painting “Lament” was chosen by the Chaloner Foundation for a prize that allowed five years’ travel and study in Europe; newspapers announced that the “Girl Painter Wins $6,000 Prize Over Three Male Competitors.” Then an anonymous tip observed the close similarity between Lange’s painting and English artist James Williams’ work “The Lament,” published seven years previous. The award was revoked, although many observers were sympathetic to the process of unconscious assimilation—why would Lange have titled the painting as such if she had sought to hide anything? (“Tragic Likeness”). The Foundation’s underwriter also was supportive, and decided to grant her a trip in 1924, yet as Lange reported Chaloner “advised me to plead guilty. I therefore do so. I am very, very sorry, and I have suffered severely. I therefore ask the public to please try to forget the past and look at my work in Paris during the next five years as the proof of my sincere devotion to Art” (“Confession”). Given this potentially devastating episode, it’s remarkable how Lange persisted on to study (at the Academies Colarossi, Grand Chaumiere, Julian, and Billoul in Paris) and to produce vivid art. She became best known for her paintings of the American Southwest, having first traveled to Arizona in 1930. A 1931 solo show at the Argent Galleries suggested that “Erna Lange has taken much color and the drama and woven it into pictures, which add greatly to the artistic production of the country. Her clear vision and skillful handling of the medium equip her to record ably and with unusual understanding the moods of this one section of America wherein natural forces can still play a part in the lives of the people without disturbing their peace of mind.” Lange exhibited works in the 1936 and 1937 Woodstock WPA Expositions, and records indicate that her 1936 painting, “Winter Landscape,” was allocated to the NYS Board of Health. Lange moved near Phoenix permanently in 1940, where she opened her own gallery and taught painting. Almost all of Lange’s paintings are privately held, rather than displayed in museums. Sources Consulted: “Girl Painter Wins $6,000 Prize Over Three Male Competitors” (Baltimore Sun 9 July 1923: 2); (“Tragic Likeness of Her Picture to Another’s,” San Francisco Chronicle 23 Sept. 1923: 6); “Confession,” Time 9 June 1924. Creator An entity primarily responsible for making the resource Lange, Erna, 1896-1984 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 1936-01-02 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 #FA18194 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 16 MB jpeg, 521 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 101 Erna Lange Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/407aa50198b548a06190d6ff49fc855f.png 78806178325dcfe05a91bacb53758a22 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Upper Falls Under the Portage Bridge Publisher An entity responsible for making the resource available public domain Creator An entity primarily responsible for making the resource Laurie Tracy Source A related resource from which the described resource is derived www.pixels.com Date A point or period of time associated with an event in the lifecycle of the resource 2014 https://openvalley.org/files/original/bae2f12692f8c8af702fb25dfd70c98f.jpg dd22a8fbe1cd9bc6e484b441773a408e https://openvalley.org/files/original/3e7b62af559d76b77c92022bfded1ed0.JPG 6a97e11b1d3b0e0fdb4a27e029e96af6 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, crayon marks Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wild Horses on a Dale Description An account of the resource Two horses run along an earthen path through what appears to be a stockaded chute, but upon examination the vertical columns turn out to be strata of rock, and four more horses are joining the pair from atop a stylized landform. Through a crack a blossoming tree has pushed its way into daylight; along the base of rocks grow unlikely floweres. In the distance can be seen grassy hills that might be expected in a valley, or “dale.” Lebduska gives his incongruous elements a dreamlike coherence: the similar expression upon each horse’s face; the way brown coats of hair transform into otherworldly colors upon joining the chase. About the Artist: Born in Baltimore to Czech parents, Lebduska trained to be a stained glass artist like his father, before immigrating to the US in 1912. Initially he worked as a painter of interior murals but by the late 1920s was exhibiting his own paintings. The label of Lebkuska as as a “primitive” akin to <a href="https://en.wikipedia.org/wiki/Henri_Rousseau" target="_blank" rel="noopener">Henri Rousseau</a> initially gained him attention during the 1930s and early 1940s; reportedly his paintings inspired Abby Aldrich Rockefeller to begin assembling her large collection of folk art. But as a 1941 <a href="https://www.moma.org/calendar/exhibitions/1703" target="_blank" rel="noopener">“Modern Primitives”</a> show at MoMA illustrates, it was a constrictive rubric: “All share the common denominator of Western culture at its most democratic level and all express the straightforward, innocent and convincing vision of the common man, ignorant of art or unaffected by it” (Barr). With a change in art world fashions Lebduska’s work fell out of favor during the later 1940s and ‘50s, and he descended into poverty and alcoholism. In the 1960s an art dealer named Eva Lee, impressed by one of his paintings, sought out Lebduska and helped him recover his health. He resumed painting until his death in 1966 with renewed public appreciation. 2 works at the <a href="https://americanart.si.edu/artist/lawrence-lebduska-6039" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.albrightknox.org/artworks/rca19423-horse-and-tiger" target="_blank" rel="noopener">Albright-Knox Art Gallery</a>. 3 works at <a href="http://argus.wadsworthatheneum.org/Wadsworth_Atheneum_ArgusNet/Portal/public.aspx?lang=en-US" target="_blank" rel="noopener">Wadsworth Atheneum</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-34" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Lebduska, Lawrence Henry, 1894-1966 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 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 #FA18197 Format The file format, physical medium, or dimensions of the resource jpeg, 831 KB jpeg, 12 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 104 Federal Art Project Lawrence Lebduska New Deal Gallery painting https://openvalley.org/files/original/e7f629cc6195b3f4282e26ec4683512c.jpg f1c60dea44505df91aa744334feaf75a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Drawing Physical Dimensions The actual physical size of the original image 12 x 12 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mexican Village Mandala Description An account of the resource In this mandala design--perhaps representing the artists' home--we see a compactly rendered landscape depicting rivers, a village, volcanic mountains, and a sunny sky. A serpentine road winds throughout the scene, and a golden eagle--central to the Mexican national emblem--watches over the village. Note: image quality is affected by shrink wrap enclosing the art work, due to its creator never returning to retrieve it. Creator An entity primarily responsible for making the resource León, Emilio Alvarez Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 2000-2010 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 2.1 MB Type The nature or genre of the resource Still image art Creative Artists Migrant Program Services Geneseo Migrant Center Mandala Mexico https://openvalley.org/files/original/aa7e03b489e1d7250bda77a61f3aa898.jpg b6e87146e05a9f6deba737b771ec70e7 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 of drawing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Solar System Mandala Description An account of the resource Circumscribed by a circle, we behold a stylized representation of our solar system: Earth, a crescent moon, the sun, Saturn, Mars, and perhaps Jupiter. This is where things get more complex, since among the smaller stars there are also four-pointed "natal stars"--so called because they symbolize the Star of Bethlehem and whose shape sometimes prefigures the crucifix. It's also interesting that North America is foreshortened so as to minimize its size; Mexico and Central America are relatively larger. Along with his reference to the Mexican national emblem in <a href="https://openvalley.org/items/show/1876" target="_blank" rel="noopener">another drawing</a>, it supports the likelihood that León was from Mexico. Note: this image comes from an earlier digital photograph, whose smaller file size may limit detail. Creator An entity primarily responsible for making the resource León, Emilio Alvarez Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 788 KB Type The nature or genre of the resource Still image art Creative Artists Migrant Program Services Geneseo Migrant Center Mandala Mexico migrant workers https://openvalley.org/files/original/a85f1e5d78e2efa996ee16c59246a230.pdf 0d845d1538249cdc63c0ed88ad9ae326 https://openvalley.org/files/original/260fc3d208e7b1cd4e69430fe2d9f024.jpg 61b46439a151e7415ce7493e0371e375 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Poems printed on placards for gallery show 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 Poems from African Past, Migrant Present Description An account of the resource These five poems date to an early proposal for a 1986 exhibition staged by the Geneseo Migrant Center (GMC). All had been published previously in collections of poetry; for African Past, Migrant Present they were to be paired with black & white documentary photos taken by GMC staff. This item consists of a pdf file that collects the poems; it has been created in support of <a href="https://storymaps.arcgis.com/stories/b8ffee99687346339977f9c0dad81264" target="_blank" rel="noopener">a more in-depth story map</a> on the exhibition. Creator An entity primarily responsible for making the resource Leonard, "Brown" Anonymous, "Following a Dream" Anonymous, "Cold" Robert, Eddie, John C.,Troy, Tyrone, "Love Me Blues" Eartha Bridges, Denise Hammond, Lois Hammond, "Pickin Potatoes" Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource pdf, 64 KB Type The nature or genre of the resource Text African Past, Migrant Present Creative Artists Migrant Program Services Geneseo Migrant Center Poetry https://openvalley.org/files/original/a8775b16a57aecc9cd67664bf08373c4.jpg eec5b56bdc7b9ecbc2377da9c0885a89 https://openvalley.org/files/original/c19bea65080d5a6255a1094e37a0ecd2.JPG 8eea507707b962e1a7899f0402064ac9 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, marked slightly with pencil or crayon 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 Lighter Good Hope Description An account of the resource A lighter was a type of barge used for unloading ships in shallower harbors; in the early 20th century, the name extended to lighter tugs used to move those unpowered barges. Here, in golden tones and against a wall of clouds, the Good Hope also is depicted as an object of beauty. In the lower portions of Litze’s painting, both her design and brushstrokes emphasize horizontal strata of road, wharf, water, planks, gunwales and, across the water, another line of vegetation and trees. The more spacious upper portion is reserved for the vertical geometry of mast and rigging. About the Artist: Lietze was born in Cincinnati, OH to German immigrants, her father Ernst a teacher of art and mechanical drawing at the Ohio Mechanics Institute. She graduated from the University of Cincinnati, then moved to Chicago sometime around 1904 to pursue her vocation. She exhibited “Still Life” at the Detroit Museum of Art (1903), “Early Morning” and “The Setting Sun” with the Society of Independent Artists (1919), and “The Snow Storm” at Laguna Art Gallery (1925). A 1923 show at the Museum of New Mexico noted how “Portraits that are rugged, still life which is unusual in its treatment and and landscape indicate the wide range of Miss Lietze’s ambition” (“The Galleries” 170). She is listed as an employee of the Federal Art Project, but no further information is available. Unfortunately, one of Lietze’s last public records is a 1955 editorial on the financial plight of elderly individuals like her: “One does not have to search far to discover one of these aged persons, cowering in some dreary lodging to which they have been assigned by a relentless fate....These people have played their role in the drama of life; they have made many sacrifices. Now, reduced to penury, they are probably granted a meager benefit....If need be, I apologize for these unpleasant remarks, but they proceed from the depths, for I, too am one of the underprivileged and I feel that the cards are stacked against me.” Sources Consulted: “The Galleries in May,” El Palacio 14.11 (1 June 1923): 169-170;Dolores Lietze, “Remember the Elderly,” Cincinnati Enquirer 10 Jan. 1955: 6). Creator An entity primarily responsible for making the resource Lietze, Dolores Sophia, 1880-1964 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 710 KB jpeg, 14.4 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18198 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 105 Dolores Lietze Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/dea457dfeaa15599e3fcf4594499ca8e.png 9d27bc3d775697571786de3f91a318c4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lo Pinto Illustration From Page 3 Description An account of the resource Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 487 KB Type The nature or genre of the resource Still Image https://openvalley.org/files/original/e4b06802ae6de75db876117a9abdd987.jpg b532d99c8bb1ff8cb21fbf9dcd7ec8b6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The People Description An account of the resource One of several illustrations created for a Federal Writers Project book on the state of Alaska, this one is for a chapter treading delicately about indigenous peoples in relation to White settlers. Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 692 KB Type The nature or genre of the resource Still Image