49 10 1322 https://openvalley.org/files/original/2335524f81df8b3b6f3f6fc37a064a9c.jpg 6076c6bfc4efd503fc0cee6353d3f4d8 https://openvalley.org/files/original/a4db1e6fc431eafc1ed52f673ed25fee.jpg ac889ef45a395740f44a8682ac161548 https://openvalley.org/files/original/3b099c50913ff156c924d4fdf65307a0.JPG df9aa8f6c6ab34f2f22e704444f89f0e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Van Cortland Park Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 1937-02-02 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18154 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 3.8 MB jpeg, 15.3 MB Identifier An unambiguous reference to the resource within a given context 064 Description An account of the resource In this bower of parkland amidst the Bronx, we look up a gentle hill toward its crest beneath a muted sky. Thin layers of impressionist blending create a modulated glow in trees and grassland alike. Perhaps the painting's most striking effect is its shaggy modeling of three trees lined up the foreground, distinct from the landscape by way of artfully placed boulders. In their distinct shapes and clear separation from the meadow, the effect is one of a gathering of trees. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff Van Cortlandt Park https://openvalley.org/files/original/cc7a18fcdd9b65a933e6255e0dff405d.jpg 89162485a848efdd9772d35ad95c9a4b https://openvalley.org/files/original/65c53605b19fc5e0c0a2d45789eb132e.jpg ba3010a66c206f338518c5aa866cd65c https://openvalley.org/files/original/cfde72d9dae047b699451a380aeb5085.JPG cae12fc7ddfb41d33ef300ffc06041d4 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: 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 Fall in New England Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 #FA18153 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 3.1 MB jpeg, 13.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 063 Description An account of the resource It's fall, and a farmer is seen returning a wagonload of hay, presumably cut and dried in his fields. Fidaroff composes his scene so as to obscure what may be a gas-powered tractor (since we don't see a team of horses ahead of the farmer). A warm shagginess is repeated throughout the painting--tree leaves, grass, the load of hay--using impressionist brushstrokes. In the distance, the cool gray skyline of a mountain points toward winter. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/3e836b933922f9f1acbf69c3c75c7983.jpg 3791843cb402264b807e4f3bb69a436d https://openvalley.org/files/original/3cb8bcd2fbdab3c7992733cdc93d9320.jpg c1ac7c538d51e571f69b5948656f2e9c https://openvalley.org/files/original/12416b0fd484695f07b3fc76ebc89e27.JPG c46ae7c845a12ee8dc4f4486e646a762 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: 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 Vermont Hills Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 1937-10-20 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 #FA18152 Format The file format, physical medium, or dimensions of the resource jpeg, 832 KB jpeg, 4.2 MB jpeg, 15.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 062 Description An account of the resource Deceptively simple in scenic terms, Fidaroff's painting relies upon a carefully restricted range of colors, shapes, and distinctive landscape features. A river, partially visible at lower left, makes us aware of a serpentine line continuing to upper right; its contrasting color highlights another line composed of individual trees. The visual (and ecological) tension in painting is between ranges of forested mountains and those gold-green fields cleared by farmers. No humans are visible in Fidaroff's painting, but their presence is encoded into its design. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/2bfb621aca45048b72e537d91d31ed88.jpg 4cbfe3b9a3a125d48a2d26a58ebbb42f https://openvalley.org/files/original/532b94479f11b548e381fd9238a1e7dc.jpg 7462b18763ed577ea99ffae2b5bdb37e https://openvalley.org/files/original/06f551b4e5c7853e991cf2e4d8212bc3.JPG 7687341fb477dd85229c12912026cf49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jersey Landscape Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 #FA18155 Format The file format, physical medium, or dimensions of the resource jpeg, 956 KB jpeg, 4.3 MB jpeg, 17.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 065 Description An account of the resource Spare composition of an open space, perhaps parkland, is most distinctive in its use of linear elements. The horizontals of skyline and a row of plantings across the middle of painting are intersected by verticals of trees and, in the distance, lines of color ascending the hills. At bottom center, where a viewer presumably is invited to enter the landscape, a serpentine footpath gives way to branching possibilities. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/0bd711e25a1d3eacbe44052b64018a14.jpg 71703a457046a971eadd48b71307446f https://openvalley.org/files/original/9c1dcc4d96cdf875ff81c9b27fe9752a.jpg 5a51bd1173a13bc7a2e10430ffe1cb53 https://openvalley.org/files/original/907ce4d0511c7b995b65f3184c4068df.JPG 413c0ab98a47879600c8128f5a2c9927 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: scratched, left hand lower corner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mountain Lake Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 1937-10-20 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 #FA18156 Format The file format, physical medium, or dimensions of the resource jpeg, 821 KB jpeg, 4 MB jpeg, 15.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 066 Description An account of the resource Presumably at the edge of a small mountain lake, we look across its surface to the middle and far distance. Although using atmospheric perspective to some extent, the hills and sky also register as a single plane differentiated by line and color. The uncanny effects of space are most clearly observed in the lake's reflections, especially the two similar trees at center: just their tips are tall enough to be seen over a hill's curvature, causing their reflection in the lake to appear as two isolated blocks of color. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/f3a9afa85df52e300632b27749fd047e.jpg 59808ee4a8b5905a779bad6fb91fb803 https://openvalley.org/files/original/4d14d72fca6d676c432d2ed44cf4c682.JPG b5a873cc0576263610d84b7f2f521fa6 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. Physical Dimensions The actual physical size of the original image 20 X 20 in. Condition: Dented, stained, cracked paint. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tulips and Pewter Pitcher Description An account of the resource In what appears to be a staged painting, we see a red cloth behind various objects, and a white cloth upon which they rest. Towards the left side there are books stacked up against each other and next to them, in the center, a small blue bowl of water with symmetrical designs. Although the blue bowl is in the center, the real eye-catcher here is the yellow tulips in the pewter pitcher. Many stand strong while others are carelessly reflected on the pewter's shiny surface. Although the small blue bowl also is reflected in the pewter's surface, there is a clear distortion between the distance of the bowl and the size of the bowl in its reflection. The pewter serves as a distorted mirror of the actual painting. About the Artist: We haven’t located much reliable information about this artist. Possibly born in Utica, NY, Carpenter studied at the Art Students League. Her paintings “The Green Vase” and “Nude” were exhibited at the Society of Independent Artists, 1930. Creator An entity primarily responsible for making the resource Carpenter, Margaret, 1897-1980 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) Fernandez, Yadelin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object #FA18129 Format The file format, physical medium, or dimensions of the resource jpeg, 807 KB jpeg, 9.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 039 Federal Art Project flowers Margaret Carpenter New Deal Gallery Open Valley https://openvalley.org/files/original/2ceb131d8f95d80d81e40b78c8b22305.jpg d86991b662db729f4a6b457a77789133 https://openvalley.org/files/original/62fd9fade8cfc6e49c3b9d336aeb5b83.JPG 395d8000be95465050e2e637e5efaef4 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. Physical Dimensions The actual physical size of the original image 23.5 x 29.5 in Condition: surface dirt and peeled paint Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource In this still life, there are various objects placed on a brown table. Towards the left end of the table, we see a small container of ink standing next to a dip pen and a journal on the opposite end of the table. Towards the center, there is a cream-colored piece of cloth underlying an empty teacup and circular vase containing white calla lilies. Although pale as the wall beside it, the calla lilies are contrasted by the dark red curtains behind them. The cream walls are adorned by a framed portrait of a young lady smiling and a separate painting that has two nude figures. About the Artist: We haven’t located much reliable information about this artist. Possibly born in Utica, NY, Carpenter studied at the Art Students League. Her paintings “The Green Vase” and “Nude” were exhibited at the Society of Independent Artists, 1930. Creator An entity primarily responsible for making the resource Carpenter, Margaret, 1897-1980 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 1937-10-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Fernandez, Yadelin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Art Gallery, Genesee Valley Council on the Arts Object FA#18130 Title A name given to the resource Still Life on a Table Format The file format, physical medium, or dimensions of the resource jpeg, 909 KB jpeg, 14 MB Federal Art Project Margaret Carpenter New Deal Gallery painting still life https://openvalley.org/files/original/c203541cfcd3c37fb4f848a59b3c7340.jpg 65a8513b9d5f22629492037f25565749 https://openvalley.org/files/original/09ec63af07c68fd6de3cf4985b2c3529.JPG baa361870222c9c44d2efc11280df553 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 16.5 in. Condition: slightly spotted Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spring in Wallkill, NY Description An account of the resource The painting captures the open fields of Wallkill on a spring day. Abernathy’s thick brush strokes depict a tree on the left side of the midground with mountains in the background. Beyond the tree is a tan field, its color suggesting a recent harvest, separated from green fields by wooden fencing. The shadow the tree casts suggests there is sun, but with the multitude of clouds, the day could be partly sunny. About The Artist: Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> the Florida Female College</a>. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> FAP</a> Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 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) Stern, Alison (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 #FA18096 Format The file format, physical medium, or dimensions of the resource jpeg, 894 KB jpeg, 8.93 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 006 Federal Art Project Inez Abernathy New Deal Gallery painting https://openvalley.org/files/original/c0f5dd4dc33e3dcfbd12e5abb5d6d18f.jpg 340852ca9a083215b0a51d3fee964bce https://openvalley.org/files/original/78d4812edb59313ba08a96fb56da3a30.JPG 69928ff679de7000c26f74b1156750bb 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, marked with pen, unframed 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 on a Table Description An account of the resource A table supports a toppled paper bag of fruit, strewn directly on the table or on a white cloth. In the background is an empty vase. The wooden furniture is so shiny that fruit reflects off of its surfaces The light source is unclear, but a curtain in the background suggests there is probably a window which could be partially unshaded, thus providing the scene with light. About The Artist: Born in Frostburg, MD, Abramson (whose first name sometimes is spelled Hirshel) studied at the Maryland Institute of Fine Arts and later in Paris with<a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"> André L’hote</a>. He painted in a Cumberland, MD studio before moving to New York City in 1931 where he showed at the Ainslee Galleries. A critic for the New York Times admired his work for incorporating “the best qualities of the L’hote Academy—architectonic composition and integrated color—into really fine canvases. His still-lifes, too, with the shimmering tones of cloth and fruit woven with contrapuntal into rich color fugues, justify the discipline of cubism” (New York Times 19 June 1932: 25). 7 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-6" target="_blank" rel="noopener"> FAP</a> Creator An entity primarily responsible for making the resource Abramson, Hershel, d. 1969 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) Stern, Alison (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 # FA18097 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 12.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 007 Federal Art Project hershel abramson New Deal Gallery painting https://openvalley.org/files/original/a8582dc9c5a94e567cb97704be638e7f.jpg 27d0eb98e275e8a245160cb4fdcbbe5e https://openvalley.org/files/original/3d418cb836364c98246c95979cd05de1.JPG 1177ae30c63f71bec523cec4b9b5a24a 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 19.5 in. Condition: slightly torn, 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 Long Island Farm Creator An entity primarily responsible for making the resource Cheney, Philip Loring, 1897-1992 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 Abigail Ritz (photography) Elana Evenden (biography) Ken Cooper (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18131 Format The file format, physical medium, or dimensions of the resource jpeg, 898 KB jpeg, 10.8 MB Description An account of the resource This landscape illuminates the life of farmers working in Long Island, New York. The painting represents a time period when suburbia begins to emerge, as viewers can see the juxtaposition between the cityscape in the background and the simplicity of the farming. Cheney uses an impressionist style to show the farmers working in the foreground, their cultivated land in the middle and the cityscape in the back. The painter demonstrates his formal training by his use of atmospheric perspective, our view becoming blurrier the farther we look into the distance. Looking more closely, we see brush strokes used to paint in a muddled yet meticulous way. Cheney's style of painting may have been influenced by the impressionist movement in Europe. About the Artist: Born in Brookline, MA, Cheney attended Harvard University, where he trained with the Harvard ROTC.<a href="https://archive.org/stream/NewEnglandaviatVol2Tick#page/320/mode/1up/" target="_blank" rel="noopener"> During 1918-19</a> he enlisted as a pilot specializing in aerial navigation, a background that seems to have influenced his art’s sometimes creative vantage points. Most of Cheney’s work was in lithography, often of western landscapes. He exhibited at the Pennsylvania Academy of Fine Arts, City Art Museum of St. Louis, National Academy of Design, Los Angeles Museum, Paris Salon, and the Society of Independent Artists. In 1940 his lithograph “Winter Afternoon” was chosen to represent Vermont in the traveling exhibit<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015020224583;view=1up;seq=3" target="_blank" rel="noopener"> “Contemporary Art of the United States,”</a> which included contributions by artists Grant Wood, Georgia O’Keefe and N. C. Wyeth. 10 works at the <a href="https://www.nga.gov/collection/artist-info.3743.html" target="_blank" rel="noopener">National Gallery of Art</a>. 7 works at<a href="https://art.famsf.org/philip-cheney" target="_blank" rel="noopener"> Fine Arts Museums of San Francisco</a>. 1 work at<a href="https://www.dia.org/art/collection?artist%5B0%5D=69053" target="_blank" rel="noopener"> Detroit Institute of Arts</a>. 1 work at<a href="https://pafaarchives.omeka.net/items/show/40056" target="_blank" rel="noopener"> Pennsylvania Academy of Fine Arts</a>. 2 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-27" target="_blank" rel="noopener"> FAP</a> Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 041 Federal Art Project Long Island New Deal Gallery painting Philip Cheney