50 10 1322 https://openvalley.org/files/original/ee0acae9a3579b3093d0526af7c7f165.jpg ed3d055f03ce0a5ec9d4ec32c5318993 https://openvalley.org/files/original/72ed9673e27d5b67239aaa477a68d75e.jpg 78a5595dd6650c5e62137aab969d04b6 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 Map Physical Dimensions The actual physical size of the original image 53 x 41 cm 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: The Empire State Description An account of the resource Advertising map created by the Mentholatum Company promises the "romantic epochs of of New York history paraded before us in picturesque array." Although its text narrative and dates address the state's history, there also are many features of the tourist or "romance" map genre: figures in stylized period costume; winter activities in the Adirondacks; the Empire State Building located wherever it will fit; several sites of business and industry, including a Mentholatum factory located in Buffalo, NY. The map also is interesting for its division of the state into four cultural "influences" indicated by color: French, English, Dutch, and Neutral. The Adirondack Mountains resemble a leaf in fall color. Creator An entity primarily responsible for making the resource Mentholatum Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 7.9 MB Type The nature or genre of the resource Map advertising Map Mentholatum Company New York State Romance Map https://openvalley.org/files/original/2d5fcd9830b78668d34971c887a188b6.jpg 63fa7a70eb8ced1d7f4e1eb1c8e0566d https://openvalley.org/files/original/9d79009af0583247f812448406176463.jpg b74772787667fdd035a4eb7a0470291d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woman Sitting in Potato Field Description An account of the resource A photo of a woman sitting on something that looks like a bucket in Jablonski's Potato Camp in Steuben City. She has a sack behind her and is surrounded by potatoes. Creator An entity primarily responsible for making the resource Mike Greenlar Publisher An entity responsible for making the resource available Steuben County Historical Society Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Colleran, Justin Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource jpeg, 512 MB Type The nature or genre of the resource Still Image Geneseo Migrant Center Jablonski Potato Camps Potatoes https://openvalley.org/files/original/36d47babbd8cf20701ef5b184c8a7794.png 19026a15c02e6c654a870224be1f54a1 https://openvalley.org/files/original/d07244bb5aad657ae5c4c37dbb884fb9.png c84d756b0e1c5afdcd36f59360ba1cb3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Agnes Holy Names Society Description An account of the resource Men's religious society in Avon, NY is part of the worldwide Society of the Holy Name. This photograph shows several members hosting Rev. Adam J. Otterbein, who co-founded the Holy Shroud Guild in 1951, devoted to study of the Shroud of Turin. This photograph, taken at <a href="https://openvalley.org/items/show/2069" target="_blank" rel="noopener">Wally's Inn</a>, identifies the following individuals: Treasurer; Martin Cole; President, Charles Connor; Reverend Adam J. Otterbein, C.S.S.R., Redemptorist Father; Rev. Charles E. Muckle, S.T.B., Pastor of St. Agnes Church; Rev. Edward A. Shamon, assistant pastor of St. Agnes Church; and George Cullinan. Creator An entity primarily responsible for making the resource Miller, Norman Publisher An entity responsible for making the resource available Avon Herald-News Date A point or period of time associated with an event in the lifecycle of the resource 1956-05-31 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Avon Herald-News 31 May 1956: 1 Courtesy Thomas M. Tryniski / <a href="https://fultonhistory.com/Fulton.html" target="_blank" rel="noopener">Fulton History</a> Format The file format, physical medium, or dimensions of the resource .png, 1.2 MB Type The nature or genre of the resource Still image avon voices St. Agnes Church Wally's Inn https://openvalley.org/files/original/56944ca03edec6ced168684b31ace594.jpg 1f5b16b9ef70e6d7187c22b932a44c85 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 Map 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/. Creator An entity primarily responsible for making the resource Miller, Willliam Publisher An entity responsible for making the resource available New York State Museum Date A point or period of time associated with an event in the lifecycle of the resource 1913-12-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived University of the State of New York Bulletin 557 (12 Dec. 1913): 88 <a href="https://archive.org/details/annualreport6611912newy/page/n511/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 739 KB Title A name given to the resource North American Ice Sheets Description An account of the resource The geological Quatenary period, comprising about the past 2.58 million years, has been characterized by the expansion and contraction of ice sheets. This map shows the maximum extent of three major sheets emanating from their "ice centers": Keewatin Glacier (K); Cordilleran Glacier (C); and Labradorean or Laurentide Glacier (L). This last one flowed in two directions around the Adirondack Mountains, one south into the Champlain Valley and the other southwest into the St. Lawrence Valley. Many distinctive features of New York state are the consequence of glacial advance and retreat, like the Finger Lakes, Long Island (itself a terminal moraine), Lake Ontario, and the palisades of Hudson River. Even picturesque boulders are glacial "erratics" carried many miles from their source. Type The nature or genre of the resource Still image Finger Lakes Geology Ice Age Lake Ontario Map Topography https://openvalley.org/files/original/4b6a468086237e87a283e668cff92f5d.JPG 119951ee11817ab640d2c4acb7cad660 https://openvalley.org/files/original/26a314013296a49e727594c1f0df9725.JPG 091de6c25afc36221093834454981b5e https://openvalley.org/files/original/30b2dd4e977926a02c63dbd27a817a63.jpg 829fee7f451ca88bf5b8988504ab7216 https://openvalley.org/files/original/682c44a047ac22474ef4aa80935db2e8.jpg 84cae16ecdd08e81b0c683d8b166085f 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, tack marks, slight peeling and scratches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource American Farm Description An account of the resource This striking landscape is organized around the single arc of a highway that divides the space into two sectors: above, a brightly lit realm of forests and mountain ridges; below, a shadowed landscape of brown fields, a diseased tree, and a dilapidated farm house. Clearly, the travails of American farmers during the 1930s has influenced Mira’s subject matter. The highway itself is a pristine band of white futurity, guarded on one side by rails and on the other by electric or phone lines (which the farm conspicuously lacks). Improbably, we see three cars on the road along with two people walking alongside; what may be a farmer watches them walk away. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 887 KB jpeg, 11.6 MB jpeg, 655 KB Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 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 #FA18208 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 115 Alfred S. Mira Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/c6b6e23018e82ea8118b2ea96c5cf648.JPG f7d0a0a47e1e468efb3c5aafab5385a9 https://openvalley.org/files/original/08bd8884764d1d0b6b7e11c7d307ffc4.JPG 811b6ab50a6493c2393bed9350c04d41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource June Bouquet Description An account of the resource Luminous still life is not so much about the objects arranged here but how the light plays off them. In a cobolt-blue vase decorated with a rose pattern, we see a bouquet of roses at their peak of beauty and nearly glowing in the soft light. As a traditional symbol of fleeting beauty, however, we may notice a slightly drooping one at right that appears to be casting a shadow upon the wall. Mira’s colors for the table and wall aren’t strictly naturalistic; they’re chosen to coordinate with the tones of his June roses. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 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 #FA18207 Format The file format, physical medium, or dimensions of the resource jpeg, 917 KB jpeg, 11.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 114 Alfred S. Mira Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/62322621785af60b7ac9a4c3332c29fa.jpg 8f32c206a22ae8d402e6b90bd08d1bde Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of 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 Sheridan Square Description An account of the resource Oil painting of Greenich Village nightlife location dismissed by a Federal Writers Project description as "an uninteresting hodgepodge of buildings of varying sizes and ages, suggesting little of the charm that lies beyond its limits." In 1982, a small park was incorporated into this space. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19">FAP</a>. Sources Consulted: Archives of askART, including information courtesy of Brian Roughton Galleries. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 16, Folder 19.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 268 KB Type The nature or genre of the resource Still image Alfred S. Mira Federal Art Project New Deal Gallery New York Oil Painting Sheridan Square https://openvalley.org/files/original/c7fca06aeb4d89b4f7692bbf2e1afa2b.png 35ef39cb071316e42cc6f491e010f8a8 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 Mt. St. Helens Creator An entity primarily responsible for making the resource Molesworth, Mark; Neuper, Josef Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived www.PBS.org https://openvalley.org/files/original/432de9a142e0ee3ae7c78f5f2afe3297.JPG dbb62c514a24853f137b7c75ebce6d9e https://openvalley.org/files/original/0b87d97314bb93c7367a05f60304a008.JPG dc3a92a849001c6857c647f06b6b4368 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 36 x 29.5 in. Condition: cracked paint, canvas dented Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Winter Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 11.6 MB Description An account of the resource A beautiful and delicately lit scene of trees in a field of snow suggests, via its background, that we are in a valley at some considerable elevation. Against the placid light and colors is an arrangement of trees that reveal the struggle for existence: at left a broken limb lies upon the ground, another tree leans at an angle and the dramatically curved main trunk of a third all testify to the forces of wind, snow, and altitude. About the Artist: We haven’t been able to identify this artist. Please contact us if you have more information. Creator An entity primarily responsible for making the resource Morgan Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (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 #FA18209 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 116 Federal Art Project Landscape Art Morgan (painter) New Deal Gallery painting https://openvalley.org/files/original/3f5d0201c45294d8a21b93ad7095a635.jpg e706c4997a44968d2993b3c15f782f30 https://openvalley.org/files/original/584b9a5a755adb5d3206a31024b0231c.jpeg d1187e5b42e1e9bffc4dfea7d678eef9 https://openvalley.org/files/original/4801be4b29ff9dbbfb1a6d5feb0cdd0b.jpg d5c4540713c185d99d2f7987ac3eac8a 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 Map Physical Dimensions The actual physical size of the original image 20 x 17 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 Map of Ho-De-No-Sau-Nee-Ga, or The Territories of the People of the Long House, in 1720 Description An account of the resource Anthropologist's map of Six Nations homeland, showing approximate boundaries, principal trails, native and colonial villages, and aboriginal place names. This item contains an image of the map in three different sizes, suitable for various uses. Creator An entity primarily responsible for making the resource Morgan, Lewis Henry (1818-1881), cartographer Pease, Richard H. (1813-1869), engraver Date A point or period of time associated with an event in the lifecycle of the resource 1851 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Digital scan by William Hecht. Used by permission. Format The file format, physical medium, or dimensions of the resource Small: jpeg, 1.5 MB Medium: jpeg 9.3 MB Large: jpeg, 23 MB Publisher An entity responsible for making the resource available [Publisher unknown], Albany, NY Type The nature or genre of the resource Still image Haudenosaunee Map Morgan, Lewis Henry