49 10 1322 https://openvalley.org/files/original/20922a8a3842bf8b900b9ee1bb3b9ea4.jpg 5d417559acaaab5748328bcd595f31bc https://openvalley.org/files/original/1616feca9185bfe9bcda65684054dad8.jpg 7e4aa7ac706060994e69064f00f1ed3e 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 Diagram 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 York and Erie Railroad organizational diagram Description An account of the resource According to its caption, "Representing a plan of organization exhibiting the division of administrative duties, and showing the number and class of [employees], engaged in each department." Creator An entity primarily responsible for making the resource McCallum, Daniel Craig Henshaw, George Holt Publisher An entity responsible for making the resource available New York and Erie Railroad Date A point or period of time associated with an event in the lifecycle of the resource 1855 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Wikimedia Commons Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Erie Railroad Underground Atlas https://openvalley.org/files/original/6b440e465566cefba4deb5f345902be4.jpg 79bbe4cfca8bf81ce6c49a3aae3c0a03 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 Drawings on letter paper. Physical Dimensions The actual physical size of the original image 8.5" x 11" 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 African Past, Migrant Present Floor Plan Proposals Description An account of the resource As with designing anything, African Past, Migrant presents went through many iterations before one design was settled on. While all of these plans may look similar, each calls attention to different details or aspects of the gallery and show the care taken in putting together and exhibit that reflected well the migrant works being displayed in it. Creator An entity primarily responsible for making the resource McCarthy, John 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 1986 Contributor An entity responsible for making contributions to the resource Wilson, Sawyer Format The file format, physical medium, or dimensions of the resource jpeg African Past, Migrant Present Geneseo Migrant Center https://openvalley.org/files/original/09a5ea029662c55ec81facbd6b2ddd1f.jpg 373b200dd5161a3ba1f6f420e136de1b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abbey of the Genesee, Overhead View Description An account of the resource Drone photograph views Trappist Monastery, founded in 1951, occupies about a dozen acres on its main grounds. Creator An entity primarily responsible for making the resource McCarthy, Tom Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Photo courtesy of Tom McCarthy / Lynn Design Format The file format, physical medium, or dimensions of the resource jpeg, 762 KB Type The nature or genre of the resource Digital photograph Abbey of the Genesee Genesee River Piffard, NY https://openvalley.org/files/original/4112ddbbd56cbc70dd4a8fd302673c80.MOV f2fb6af27f0fc4c372c84e703c737268 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 Letchworth Lower Falls Description An account of the resource Original video. I wanted to show the stunning volume and force of water going over the falls, with crushing white water below. Part of Genesee river. Creator An entity primarily responsible for making the resource McCrohan, Niamh Date A point or period of time associated with an event in the lifecycle of the resource April 6, 2019. 2:20 pm Format The file format, physical medium, or dimensions of the resource .MOV file, 14.2 MB Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Transcription Any written text transcribed from a sound sound of moving water Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Letchworth Lower Falls April 6 2019 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7 seconds Producer Name (or names) of the person who produced the video Niamh McCrohan 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 Letchworth Lower Falls Creator An entity primarily responsible for making the resource McCrohan, Niamh Description An account of the resource Original video capturing the stunning force and volume of the Letchworth Lower Falls Date A point or period of time associated with an event in the lifecycle of the resource April 6, 2019. 2:20 pm Format The file format, physical medium, or dimensions of the resource .MOV, 14.2 MB https://openvalley.org/files/original/b3ca19c25f991e896657fff6496e18bd.jpg 0d4f96bc959c5c15be875707a096fe6b 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 Tempera painting Physical Dimensions The actual physical size of the original image 9 x 26 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 Study for "Black River Canal--1845" Creator An entity primarily responsible for making the resource McCullough, Lucerne Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Smithsonian American Art Museum Transfer from the Internal Revenue Service through the General Services Administration Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource jpeg, 863 KB Type The nature or genre of the resource Still image Description An account of the resource Along with her sister Suzanne, McCullough was commissioned by the Treasury Section of Fine Arts to create a mural for the Boonville, NY post office (constructed in 1937). This 1838 study for the larger mural, completed the next year, is the same in most of its features. The mother and daughter have their bonnets removed, the better to see their faces, and the baskets of agricultural bounty have grown--perhaps a comment upon scarcity during the Great Depression. In 1828 a proposed Black River Canal was surveyed as to branch off the successful Erie Canal, extending from Rome, NY north toward the St. Lawrence River. It was thought that lower-cost transportation would aid in economic development of communities in Lewis, Herkimer, and St. Lawrence counties. Construction was completed by 1855: 35 miles of canal, and another 40 miles of navigable waters along the Black River to the village of Carthage. But maintenance costs and competition from railroads made the canal unprofitable and in 1900 it was abandoned north of Boonville, NY and completed shut down in 1925. Thus, the McCulloughs' mural looks back to a relatively recent past in Boonville. Black River Black River Canal Boonville Canals Watersheds https://openvalley.org/files/original/41cc3ed7ea55b6bb66c4588236908b36.jpeg 73db6dc3ac0b64254965f74c19daffea https://openvalley.org/files/original/ef62d8db9f4aa3f916f7d2f9ab57f009.jpg e54536a895653a89492537e39df775be 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. Text Any textual data included in the document "Mumford Rural Cemetery Association Endowment Certificate We hereby certify that Donald Fraser and Archibald Gillis By Mrs. N. W. Campbell East of York, in the county of Livingston State of New York, has paid into the Endowment Fund of the Mumford Rural Cemetery Association one hundred and fifty ($150.00) DOLLARS for the purpose of keeping in order Lots No. 1, 2, 3, 13, in Section D, in the Mumford Rural Cemetery, in consideration whereof the interest, which shall be obtained on that sum, shall hereafter, from time to time, as occasion may require, be expended on said Lot by the Superintendent under the direction of the Trustees and for paying taxes on time. WITNESS OUR HANDS AND SEAL, at the Office of the Secretary, at Mumford, N. Y., this 5th day of October 1931. S.W. McDonald Secretary. S. W. McDonald Treasurer. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Certificate 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 Mumford Cemetery Endowment Certificate Description An account of the resource This image is of the certification of Donald Fraser and Archibald Gillis's endowment of $150.00 for lots in Mumford Rural Cemetery. This certificate was signed by S.W. McDonald, secretary and treasurer of the Mumford Rural Cemetery Association, on October 5th, 1931. Creator An entity primarily responsible for making the resource McDonald, S. W. Contributor An entity responsible for making contributions to the resource Carelli, Stephanie Source A related resource from which the described resource is derived Harmon Family Collection, Big Springs Museum, Caledonia, NY Format The file format, physical medium, or dimensions of the resource jpeg, 1.64 MB Archibald Gillis Donald Fraser Mumford Rural Cemetery Mumford Rural Cemetery Association https://openvalley.org/files/original/20f5832130e7e2d1a6ece97485c641a2.JPG bc7130bae6c974ffbd00535271f85022 https://openvalley.org/files/original/99d7422c81fd01b63bab693ac818f014.JPG dff452101cdfc8a25319d31b8458512b 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 20 x 16 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autumn Leaves Description An account of the resource Delicate, minimalist still life depicts a vase of cut stems from trees and plants. In keeping with the season—but also reminding us of time’s passage—two leafs have fallen upon an unadorned table. McEvoy’s flattened background transforms the leaves into an arrangement of color and form; a seemingly glowing, ruby-red globe is at once part of the autumnal pallette and an object of fascination in its own right. About the Artist: What’s known of McEvoy is very limited and seems to reflect the limited opportunities for women artists during her time. She was born in Dubuque, IA, and appears to have studied at the Art Institue of Chicago. By the 1930s her name is mentioned in newspaper items as a teacher at the Queensborough Community Art Center; reading poems or reading palms at a Woodstock summer fundraiser. Her paintings “Allegro” and “Intime”  were shown at the Woodstock Art Gallery; “The Willow Tree,” “Paradise,” and “Flowers” at the Larkin House, Ossining, NY. At one of these shows her work was exhibited along with NDG artist Erna Lange, and it’s interesting to imagine that the two women might have met. During 1937 McEvoy worked for the “Gallery Tours” division of the Federal Art Project: “Miss McEvoy will describe the techniques of etching, aquatint, and lithography, and a demonstration of the printing of a lithograph will take place” (Daily Worker 13 April 1937: 7). Creator An entity primarily responsible for making the resource McEvoy, Myrtle S., 1892-1973 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18203 Format The file format, physical medium, or dimensions of the resource jpeg, 968 KB jpeg, 10.3 MB Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 110 Federal Art Project Myrtle McEvoy New Deal Gallery painting still life https://openvalley.org/files/original/1b9310ad6946986c26598f54c3847a4d.JPG dc2165b7edcfaf2477eb014cdfa97e03 https://openvalley.org/files/original/950abf75fd3261c4ba96af7ceaf63def.JPG 5f774c5ec7e000cc39ad0feb132e17e0 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 Tempera painting Physical Dimensions The actual physical size of the original image 17.5 x 21.5 in. Condition: cracked glass, 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 Scene from Rose and Book Description An account of the resource The references in this uncanny painting aren’t clear. At the front of a stage we see a performer, seemingly dressed as a princess and like Cinderella wearing only a single slipper. She holds in her hand a white flower. Behind her, peeking out from seven “legs” receding into the distance, are stylized characters who seem to be drawn from folk tales: a king and queen, a dour stepsister, and so on. The scene is framed by footlights, curtains, and at far right a rope pull reaches out to us invitingly. Mearns’ title references a yearly festival in Barcelona; the painting’s anarchic energy also may derive from her experience with Hervey White’s summer <a href="https://www.newpaltz.edu/museum/exhibitions/maverick2007/maverick_festival.htm" target="_blank" rel="noopener">“Maverick Festival”</a> productions. About the Artist: Born Emma Mearns in Philadelphia, at age 19 she married the poet Laurence Jordan, was divorced from him in 1931, and then married medical writer and publisher Blake Cabot in 1937 (he died in 1974). Petra Cabot, as she was known thereafter, began work for designer Russel Wright in 1939, on his <a href="https://digitalcollections.nypl.org/items/5e66b3e8-ad27-d471-e040-e00a180654d7/book?parent=49ec4200-c542-012f-a65c-58d385a7bc34#page/1/mode/2up" target="_blank" rel="noopener">“Food Focal”</a> exhibit at the World’s Fair in New York City. In 1947, President Harry S Truman denounced modern art as “the vaporings of half-baked, lazy people....There is no art at all in connection with the modernists, in my opinion.” Mearns-Cabot was one of the Woodstock Art Association members to sign a letter rebuking Truman: “[W]hen a man in high public office chooses to denounce and condemn a large and important group of artists, because he happens to dislike their art, it becomes a matter of immediate and grave concern to all artists” (Kingston Daily Freeman 23 June 1947: 3). In 1952 she made her best-known contribution to American design with the Skotch Kooler, which refashioned metal “minnow buckets” into attractive and affordable picnic totes that became ubiquitous throughout that decade (“How”). Throughout her long life Mearns-Cabot continued to create in a variety of forms: painting, drawing, woodblock, illustrations for books and educational filmstrips, jewelry, and mixed media. 5 works at <a href="http://www.hvvacc.org/cdm/search/searchterm/Cabot,%20Petra/mode/exact" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 2 works at <a href="https://woodstockschoolofart.org/?s=petra+cabot" target="_blank" rel="noopener">Woodstock School of Art</a>. Sources Consulted: Douglas Martin, <a href="https://www.nytimes.com/2006/10/29/nyregion/29cabot.html" target="_blank" rel="noopener">“Petra Cabot, Designer of the 1950s-Era Skotch Kooler, Dies at 99,”</a> New York Times 29 Oct. 2006: A26; “How Two Young Men Saved an Ailing Business,” Changing Times: The Kiplinger Magazine Aug. 1953: 31-32. Creator An entity primarily responsible for making the resource Mearns, Petra, 1907-2006 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1936? Contributor An entity responsible for making contributions to the resource Ritz, Abigail (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 #FA18204 Format The file format, physical medium, or dimensions of the resource jpeg, 854 KB j peg, 8.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 111 Federal Art Project New Deal Gallery painting Petra Mearns Cabot https://openvalley.org/files/original/43942685e8b713fee9d80e1bb6de3da0.JPG 2637f038ace460016d92f7d4a3c7921f https://openvalley.org/files/original/4638c282f59ba88630f3765f8ecaaf31.JPG 6578ce470b7cea2759e26d5c7d131472 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. Condition: chipped 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 Fighting Stallions Description An account of the resource A fierce encounter between two stallions recalls the work of Frederic Remington in its drama and stripped-down setting. Rounded masses of muscle on the horses resemble the surrounding hills, particularly at lower right. Although not perhaps set during nighttime, a stark contrast between white horses and the landscape’s darker colors likewise owes a debt to Remington’s moonlit scenes. Here there are no humans, other horses, or even trees to witness this frozen moment in time. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18205 Format The file format, physical medium, or dimensions of the resource jpeg, 908 KB jpeg, 12.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 112 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/3c25bed932cdfae54786629f1bbbd63b.JPG a085ea719ff2897aab3158398300eb15 https://openvalley.org/files/original/fa341ea6f67266b12da6e7be4f025564.JPG 51db6b43d3aabad013e7b621188b08a8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 16 x 15.5 in. Condition: good, protected by glass 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/. Description An account of the resource Pale girl sits atop a pony, protected from the sun’s rays as apples fall from a tree nearby. The pony, meanwhile, stares blankly at the ground. Although Meloy’s familiarity with animals shows in his representation of anatomy and posture, the bright sun (and perhaps his interest in abstraction) washes away finer details of the scene; the watercolor becomes a composition in red, yellow, white, and brown, with carefully chosen accents of blue. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Title A name given to the resource Girl and Pony Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18206 Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB jpeg, 6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 113 Federal Art Project Henry J. Meloy New Deal Gallery painting