48 10 1321 https://openvalley.org/files/original/66617d4bdfcff9db740d54bbfb241c5a.JPG 16e5885dfd389ab6f51bb09e52184c3b 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 29.5 x 24 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 Sun Worshipers Description An account of the resource Brilliant colors of red, white, green, and deep blues and purples stand out in this crown of flowers set against a monochrome backdrop. The flowers are supported via ceramic vase, as the flowers fawn out from the mouth of the vase; this whole arrangement supported by a small, light grey table that seems to blend the foreground into the background. The grey, monochromatic backdrop presents a calming effect as the eye is drawn to the bright flora. It is impossible to miss the South Western painted rooster that sits beside the vase, adding yet another element of character and culture to the piece. About the Author: Born in Copenhagen, Denmark, Mary Monrad came from an artistic family. She studied at the Académie Julian with <a href="https://en.wikipedia.org/wiki/Jean-Joseph_Benjamin-Constant" target="_blank" rel="noopener">Benjamin Constant</a> and <a href="https://en.wikipedia.org/wiki/Jean-Paul_Laurens" target="_blank" rel="noopener">Jean-Paul Laurens</a>, and with <a href="https://en.wikipedia.org/wiki/James_Abbott_McNeill_Whistler" target="_blank" rel="noopener">James Whistler</a>. In 1906 she married Walter Ufer, a fellow painter, while both were living in Chicago. Thereafter her life was a struggle due to family finances, his alcoholism-fueled anger, and gender norms that forced her into a role supporting her husband. In 1914 the two moved to Taos, NM, and became influential figures in its nascent artists colony. In order to make ends meet she gave art lectures across the country, becoming a sought-after speaker and promoting the work of Taos artists. She was teaching art classes for the WPA art classes in Minneapolis, MN when her husband died in 1936; moving to New York forced her from the New Mexico relief rolls, and in New York she had trouble securing support because she was over 65 years of age. It is the state’s good fortune that eventually Federal Art Project support was granted. 1 work at the <a href="http://www.harwoodmuseum.org/exhibitions/view/200" target="_blank" rel="noopener">Harwood Museum</a>. 11 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-16" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Dean Porter, Teresa Hayes Ebie and Suzan Campbell, Taos Artists and Their Patrons, 1898-1950 (University of New Mexico, 1999); Lonnie Pierson Dunbier, AskArt.com Creator An entity primarily responsible for making the resource Ufer, Mary Monrad (Frederikson), 1869-1947 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Spina, Emily (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18281 Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 KB Identifier An unambiguous reference to the resource within a given context 188 Federal Art Project Mary Frederikson Ufer New Deal Gallery painting https://openvalley.org/files/original/a9bc290ce6221e259e21a943f85f2567.jpg 6b672f3213274580a73b6bc41b5edbf6 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 19.5 x 15.5 in. Condition: canvas stained, 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 St. Ann's Chapel Description An account of the resource We see a small chapel with terra cotta roof and a small bell. The only spots of color are the red roof tiles and the teal of bricks aroud the door. The rest of the painting is bleached, faded to hues of pale beige and blue. The door inside, framed by both the only vibrant blue in the painting, and by the circular arch of the chapel's portico, is made the focus of the painting.  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 [Herbert], 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 1937 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18013 Format The file format, physical medium, or dimensions of the resource jpeg, 556 KB Type The nature or genre of the resource Still Image Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Vanamee, Nicholas (biography) Cooper, Ken (biography) 1930s Federal Art Project John Alger New Deal Gallery St. Ann's Chapel still life https://openvalley.org/files/original/b09aa57916754a41e34a201d5acef91c.jpg 7456b4368b6469ae36e78ec4c25c74f0 https://openvalley.org/files/original/0b2e9d453ec91cf4a7fca9b952ec5a93.JPG e49964003dd4c0a13d8dc224801c3923 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 Fruit and Flowers Creator An entity primarily responsible for making the resource Cogan, Martin 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 #FA18134 Format The file format, physical medium, or dimensions of the resource jpeg, 986 KB jpeg, 9.3 MB Description An account of the resource A simple still life (perhaps deceptively so) includes as its ostensible objects a Grecian vase, flowers, and red grapes. Whether intentional or not, each element evokes a somewhat different artistic tradition: classical sculpture, informal nature in the form of daisies and zinnias, and European still life as represented by grapes. The entire arrangement sits upon a reflective surface. About the Artist:We haven’t located any reliable information about this artist. Please help us if you have any information. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-36">FAP</a>. Federal Art Project Martin Cogan New Deal Gallery Painter https://openvalley.org/files/original/ba72811eb5e02782eda3ded7d5aa99d5.jpg 201c7a5f032366cfc6508394ce3c28dc https://openvalley.org/files/original/a6dcc0367482678705f265e2b0a1a226.jpg 4cd18eaa9527685ed05f718b3583c6c3 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: surface dirt, chipped, peeled 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 Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-09 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 #FA18149 Format The file format, physical medium, or dimensions of the resource jpeg, 724 KB jpeg, 9.2 MB Type The nature or genre of the resource Still image Description An account of the resource A deft hand with tonal color renders Fastovsky's autumnal landscape somewhat different from what we expect in paintings of that season. We look down upon a valley whose brightest colors are literally marginalized--as borders between agricultural fields--except for blazing oranges at middle right. Houses and roads leading down a precipitous hillside, along with a mountain rising on the valley's other side, allow for an unusually large area for such a compact composition. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/bab19e8d12e721e1fd1670e558fe6e5b.jpg c19eae4cf589bab10b5a6de9212da3c1 https://openvalley.org/files/original/ba8d855ef1c03ede58adfe8b1f4d637e.JPG abed2e210448c337c695a2c97e2c6c37 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: 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 Bridlepath, Central Park Description An account of the resource Three women and one man are seen riding horses along a muddy trail; a younger rider with two braided pigtails leading them. A faded building is seen in the background--and we remind ourselves that this is New York City. There seem to be three distinct parts of this painting: the upper includes the building and the top parts of the trees; the middle includes the horses and the people. The bottom part of the painting is separated distinctly where the grass meets the trail, including the horses' feet and the muddy trail. About the Artist: We haven’t located much reliable information about this artist. As his NDG painting suggests, Dowling appears to have specialized in sporting art. He created an historical painting, “Saratoga, 1917” that showed Racing Association members living and deceased (New York Herald 6 Aug. 1918: 3). Nine years later Dowling was asked to add 13 additional figures on the strength of his reputation in England and the US, which had included a portrait of Theodore Roosevelt. He also ran a series of portraits in Town and Country depicting the opera singer Enrico Caruso, lawyer Paul D. Cravath, financier Otto H. Kahn, and broker Henry Rogers Winthrop (The Saratogian 15 Aug. 1927: 5). Creator An entity primarily responsible for making the resource Dowling, William, 1907-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Apthorpe, Jessica (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 #FA18145 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 13.4 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 055 1930s Central Park Federal Art Project horses New Deal New Deal Gallery painting William Dowling https://openvalley.org/files/original/6a1ecb72c1aae7bd6619fef5c26011b7.JPG f3836bccb05c324651a71b1cbd29edf5 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 Pastel painting Physical Dimensions The actual physical size of the original image 15.5 x 19.5 in. Condition: dented, surface dirt, paint flaked 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 Tang Figure Description An account of the resource Light pastels of white, red, green, and silver create a delicate and private image of an East Asian figurine behind a short pot of flowers, possibly lilies. The background is very bare and gray-scale, emphasizing the bright colors of the flowers. The white-to-red color transition of the flowers from left to right implies a period of change, more specifically from purity to maturity. About the Artist: Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA Morning Call 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909th Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled<a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> “After the Hike”</a>—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (Syracuse Herald-Journal 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (Muhlenberg Weekly 14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at<a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 3 works at<a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> Michener Art Museum</a>. 2 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Bowler, Harold T., 1903-1965 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Chan, Sabrina (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 #FA18120 Format The file format, physical medium, or dimensions of the resource jpeg, 910 KB Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 030 Federal Art Project Harold Bowler New Deal Gallery Tang Figure https://openvalley.org/files/original/65349a145392542fc5af9f5117a1b3e1.jpg 3bbb7ce261c99099f7485eb92f21b79e https://openvalley.org/files/original/f601a3bde49c8b2bbd1e46c2e75b7d86.JPG a32648044781daa8e2fdc320032b06ee 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 23.5 x 29.5 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 Still Life in a Window Description An account of the resource Bowler uses fine strokes to create a vibrant display of red and pink tulips spiraling outwards amidst a mass of strong, green leaves in a unique, white cornucopia vase. The arrangement is placed directly in the daylight on a white window bench along with a a silver plate of two apples and a pear dangerously close to the edge of the bench.The bright colors of the natural items seem almost out of place in the starkly white surroundings. About the Artist: Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA Morning Call 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909th Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled<a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> “After the Hike”</a>—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (Syracuse Herald-Journal 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (Muhlenberg Weekly 14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at<a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 3 works at<a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> Michener Art Museum</a>. 2 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Bowler, Harold T., 1903-1965 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Chan, Sabrina (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 #FA18121 Format The file format, physical medium, or dimensions of the resource jpeg, 891 KB jpeg, 13.7 MB Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 031 Federal Art Project Harold Bowler New Deal Gallery still life https://openvalley.org/files/original/59aed509e70844cd4407ae081c5bcf51.jpg 9f143cc27fbc997b7801567297db4b31 https://openvalley.org/files/original/4341edab5affe7a3ecc284330fdae991.JPG c0e329d65b69f5ce9be538f4ebdaf994 https://openvalley.org/files/original/2a2e67b4e7db2dddf499f6363aceb242.jpg 9fcb50602716155b866ba9cb1be15fb6 https://openvalley.org/files/original/867b50c6220e5d237d95ba25172c316a.jpg a0db7188f78bf1848b40f1e5fe549b70 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 30 x 24 in. Condition: canvas slightly dented 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 Deserted Wharf Description An account of the resource Cool blues and greens dominate much of Sharp’s landscape, creating a sharp contrast against the red of the barn and sails. A body of water surrounding the wharf clearly is too small for any boats and seems to be drying up. The rolling hills and mountains in the background make the area feel vast and somewhat empty. There are no people within the painting, although there are a few structures that could be houses—one of which has a gravestone—and what appears to be a church spire. Strangest of all is a fenced-in pasture with dinosaurs. About the Artist: Born in Galesburg, IL, Sharp grew up in Eldon, IA and showed a talent for art at an early age, matriculating at the University of Iowa in 1928. While a student he met curator Edward Rowan and painter <a href="https://en.wikipedia.org/wiki/Grant_Wood" target="_blank" rel="noopener">Grant Wood</a>, both of whom would become important figures in the regional art movement, co-founding the <a href="https://en.wikipedia.org/wiki/Stone_City_Art_Colony" target="_blank" rel="noopener">Stone City Art Colony</a>. At age nineteen, taking Wood on a driving tour of Eldon, Sharp showed him the house that would figure in the iconic painting <a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a>. Sharp studied at the Stone City colony for a short period before relocating to New York, where he attended the Art Students League and the National Academy of Design. It was during this period in the early 1930s that Sharp met his lifelong partner, the painter <a href="http://www.askart.com/artist/Paul_Crosthwaite/121992/Paul_Crosthwaite.aspx" target="_blank" rel="noopener">Paul Crosthwaite</a>. The two relocated to an established art scene in Buck’s County, PA. Besides his work in the WPA easel division, Sharp was chosen to create three murals for post offices in Iowa:  <a href="https://livingnewdeal.org/projects/post-office-mural-bloomfield-ia/" target="_blank" rel="noopener">“Autumn”</a> (1940), in Bloomfield; <a href="https://livingnewdeal.org/projects/post-office-mural-rockwell-city-ia/" target="_blank" rel="noopener">“Summer”</a> (1941), in Rockwell City; <a href="https://livingnewdeal.org/projects/hawarden-post-office-mural-hawarden-ia/" target="_blank" rel="noopener">“Winter”</a> (1942), in Haywarden. While all show the regionalist influence of Wood, Sharp also had a distinctive sense of humor. His painting <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/645/" target="_blank" rel="noopener">“We All Hang Together”</a> mashes up domestic folk art and a Benjamin Franklin epigram; his landscape painting at the NDG features what appears to be a herd of cows but actually is dinosaurs. Still, his taste for surreality did not stand in the way of commercial success. Sharp was called “a skillful factualist who loves the textures of barns, flowers, leaves, shells, and old roots” (Benson). He was commissioned to render portraits of New York theater actors; his paintings were chosen for a traveling Hallmark Art Award exhibition (1951) and appeared on the cover of Colliers magazine (“P.O. Mural”). Sharp and Crosthwaite moved to Florida full-time by the mid-1950s, continuing their work while instructing younger artists. 3 works at <a href="https://www.pafa.org/museum/collection-artist/john-sharp" target="_blank" rel="noopener">Pennsylvania Academy of the Fine Arts</a>. 3 <a href="https://livingnewdeal.org/artists/john-sharp/" target="_blank" rel="noopener">post office murals</a> for the Treasury Section of Fine Arts. 1 work at <a href="https://chrysler.emuseum.com/objects/37648/untitled?ctx=ab112bf1-8a18-4eee-ad47-7ee4aee14dd0&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="https://americanart.si.edu/artist/john-o-robert-sharp-4393" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 2 works at the <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/243/" target="_blank" rel="noopener">Michener Art Museum</a>. 5 images at <a href="https://projects.mtmercy.edu/stonecity/otherartists/sharp.html" target="_blank" rel="noopener">Stone City Art Colony</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-2" target="_blank" rel="noopener">FAP</a>. Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., <a href="“John%20Sharp,”">“John Sharp,”</a> Stone City Art Colony and School, web. Creator An entity primarily responsible for making the resource Sharp, John, 1911-1966 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 1937-03-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Schmeer, Samantha (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 #FA18268 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 16.8 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 175 1930s Federal Art Project Iowa John Sharp landscape New Deal Gallery painting wharf https://openvalley.org/files/original/35048e48484731347cbdc07720bbc154.jpg 01876f315a5a663b8799b79db1432ad3 https://openvalley.org/files/original/1028d55300a53e7944a9a4582089dade.jpg ebd38d103ddc22ede8a09520a42b1c04 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 19.5 x 23.5 in. Condition: surface dirt, tack 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 Desuetude Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 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 #FA18150 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 7.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 060 Description An account of the resource Loosely translating as a "state of disuse," Fastovsky's title certainly applies to this rural scene. We see what appears to be a boarded-up chicken coop and other farm outbuildings inside a walled enclosure--although the abandonment seems recent given visible footpaths and a lack of overgrowth. Relatively high-key colors sidestep the dark tragedy of family farmers no longer present. In trial law, "desuetude" refers to statutes so long unenforced that they have become obsolete; perhaps in this case the intent is to link a particular farm to longer-term, systemic neglect that has resulted in many other farm abandonments. About the Painter: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/5d6e8582e5e7447d74800b361d394eb9.jpg e61b479154278ac48a20d2a3c0000221 https://openvalley.org/files/original/a45346b6565b8274e8a889a123b099b3.jpg a506b383530508c52559f5fbbe62971d https://openvalley.org/files/original/669ef623896381bfa03a73493f479e47.JPG af0db33989ea792669eebe13f90b2212 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, slight chipping 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 Summer Afternoon Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Source A related resource from which the described resource is derived Ritz, Abigail (photography) Cooper, Ken (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 939 KB jpeg, 3.3 MB jpeg, 13.1 MB Type The nature or genre of the resource Still image Description An account of the resource Three boys are deeply absorbed in the work of childhood, in this case perhaps the aquatic life beneath a stream's shimmering surface. Fastovsky's composition encloses the boys, unaware, beneath the arch of a viaduct yet with rolling parkland and trees in the distance. The effect is arcadian; a lack of facial features and even clothing renders the scene a fragile space of timelessness amidst an industrial world. We're beholding not a particular summer afternoon but a mythical one. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Identifier An unambiguous reference to the resource within a given context 061 Federal Art Project Isaac Fastovsky New Deal Gallery painting