50 10 1322 https://openvalley.org/files/original/3eaddbded216b8ea98a8826f54417b01.jpg f9ea6614cf0e7009c190e36bb0ad9833 https://openvalley.org/files/original/5341e8be18b27a0514455714adcc6d86.jpg bf1779acb50df7542d6f255433296d47 https://openvalley.org/files/original/fa74c0d1151e5897c558f280793ef391.jpg 3fedd27158b27f637e7d495f7e1e747e https://openvalley.org/files/original/ff1c3b9e4aec61c9a2d8949e477c80cd.jpg 04706e44f585f5a84cee2c568d633bec https://openvalley.org/files/original/8ee3f145bbd45b461bf95a15d4325e0a.jpg 0a258c10a4f65d972c65ff25edeef194 https://openvalley.org/files/original/9534d1b140f915e6182f3d5d359247be.jpg a773d69aee88e363a1915c55f06c9941 https://openvalley.org/files/original/7fe6c5de021c2017fa3fb34f1a893dbf.jpg cd15bd97089d14bbd470fa797e3d1375 https://openvalley.org/files/original/6cb0344a08ee2110a862cbcf8797f6b2.jpg c1b07e28535fbf4b56f15ecdcaadfe9d https://openvalley.org/files/original/e016256f44f202db2cf14f9e552ae486.jpg 1e27007be02c77c373e0d88a91945ccf https://openvalley.org/files/original/2e9deae5839e4ffddf96937046058ddc.jpg 2eb2fa35c5ff8868fe4b2daa195d3adf https://openvalley.org/files/original/7c6ee9cc3b09922ac585d079ed6a4753.jpg 1e381b04390752dee41c294c023fcae2 https://openvalley.org/files/original/c23ae8f38d1e7e78742d4c24754a9636.jpg 5e999e840bee8587dfccbdbd68d70876 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 Isabel Harmon Women's Gatherings Source A related resource from which the described resource is derived 1. Rochester Democrat and Chronicle 1 July 1941: 37 2. Rochester Democrat and Chronicle 1 May 1931: 18 3. Rochester Democrat & Chronicle 6 Feb 1938: 58 4. Rochester Democrat and Chronicle 8 Aug. 1936: 4 5. Rochester Democrat & Chronicle 9 Feb 1935: 6 6. Rochester Democrat & Chronicle 15 Sept 1933: 10 7. Rochester Democrat & Chronicle 16 Sept. 1932: 13 8. Rochester Democrat & Chronicle 17 Feb 1934: 4 9. Rochester Democrat & Chronicle 24 Aug. 1908: 8 10. Rochester Democrat & Chronicle 24 Jan. 1931: 8 11. Rochester Democrat & Chronicle 24 Oct 1940: 32 12. Rochester Democrat & Chronicle 30 Oct. 1908: 11 https://openvalley.org/files/original/07212720b8619f84a67ad5843c02caf6.JPG 9f4077af7b131f209203f6e7da5904d8 https://openvalley.org/files/original/fa617fc99ade7be6df0eb8bffccd9945.JPG fd980643b4664795850610e32be55abf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: surface dirt, stains 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 Italian Jugs Format The file format, physical medium, or dimensions of the resource jpeg, 929 KB jpeg, 11.3 MB Description An account of the resource All five of the Pecci paintings at the New Deal Gallery shuffle elements from each other, such as a table perhaps common to all. In this still life, a pictorial jug from his <a href="https://openvalley.org/files/original/b1d14bc6d680021f6fce59375e8fb7bc.jpg" target="_blank" rel="noopener">“Fruit and Flowers (1)”</a> receives a 90-degree turn so that its handle can be seen and image recognized. Mount Vesuvius, which underwent a series of eruptions between 1913 and 1944, smoulders in the background to a sailboat on the Bay of Naples. The small painting hung at upper right may be one of the villages along this coast—in any event, all objects signifying a beloved homeland. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-6" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pecci, Mario 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 #FA18240 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 147 Federal Art Project Mario Pecci New Deal Gallery painting still life https://openvalley.org/files/original/80611d7a1656e79556fe1707dbb5857f.jpg ef68ac6f9ac3312a7574029f75c7d1d8 https://openvalley.org/files/original/795ff7ea15df63c9830c2e81622f330e.JPG ff0b8ddc0fce06c13559fc295647debd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in. Condition: stained, canvas 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 Ithaca from the Campus Creator An entity primarily responsible for making the resource Jehu, Pauline, 1867-1947 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-12 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 #FA18177 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 13.6 MB Description An account of the resource A sunny, hazy day in western New York is framed by trees and a lush green lawn. The view of Ithaca rendered de-emphasizes its commercial center in favor of forested hill dotted with homes. It's possible that the tall structure depicted is part of the War Memorial at Lyon and McFaddin Halls, recently dedicated in 1932. About the Artist: Born in Heidelberg, Germany, Jehu (whose name sometimes has been misspelled as Jehn) immigrated to the US in the early 1880s. She was the wife of sculptor John Milton Jehu and lived in Teegarden, OH. His struggles to support the family as an artist led her to leave US in 1913 and live with her family, bringing along son John Paul Jehu. Eventually the couple divorced in 1923. It was probably during this time in Europe that Jehu studied art formally in Germany and France. She returned to America in 1934, briefly living in Selma, AB, where she had a well-regarded show at the Montgomery Museum of Fine Arts in 1934. She moved again in 1935 to Ithaca while her son  attended college (Cornell Class of 1937). Her painting at the NDG painting may have been produced during this time. She exhibited at the Fourth Street Artists Gallery (1937), Catharine Lorillard Wolfe Art Club show in New York (1941), the Albany Institute of History and Art (1943), and the Schenecdaty Art Exhibit (1945). Jehu spent the last years of her life in Albany, NY and continued painting until her death in 1947. Identifier An unambiguous reference to the resource within a given context 087 Federal Art Project Ithaca, NY New Deal Gallery painting Pauline Jehu https://openvalley.org/files/original/d07ac1bd221f646c2169eaaa4dd0246e.jpg 226b6dc26d19ffe7f499acd4fa378c47 https://openvalley.org/files/original/5b30efe00e0b2be4cd52166b5332a933.jpg 1b1603988a9d7fd9a8b91855a63d2371 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Newspaper advertisement 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 J.H. Espie, Groceries & Crockery Description An account of the resource Number 31 on the Burleigh map, this business was owned by John H. Espie, who was born in 1847 on the Espie Homestead southeast of town. Along with his wife Helen, he bought Gallagher's grocery in 1889 and ran a modest business until the store burned down in the devastating fire of February 6, 1891. Just a year later, it was reported that Espie had "built a handsome new brick building and moved into it with a fine line of new and fresh staple groceries" (see second image). Unfortunately he never seemed to recover; his wife died and Espie, who suffered from poor health, sold the building in 1899. He died in Buffalo in 1920. Against all of these commercial struggles there is evidence that he was respected in town, loved music, and was active in the local temperance society--perhaps a happier side to his life. Date A point or period of time associated with an event in the lifecycle of the resource 1. 1890-05-22 2. 1892-02-25 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived 1. Caledonia Advertiser 22 May 1890 2. Caledonia Advertiser 25 Feb. 1892 Courtesy of Tom Tryniski / Fulton History Format The file format, physical medium, or dimensions of the resource 1. jpeg, 142 KB 2. jpeg, 195 KB Publisher An entity responsible for making the resource available Caledonia Advertiser Type The nature or genre of the resource 1. Newspaper advertisement 2. Newspaper article Burleigh Litho Co Caledonia, NY Grocery John H. Espie https://openvalley.org/files/original/e983708e477c8a9efa79c5d1313f4852.jpg ae5f382df08eea474979389f19506aba 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 Jacques Zucker Allocations https://openvalley.org/files/original/a9657cfaab6db24e54ab4b88bcbe576e.jpg da5a4e810d8aac42a0741621298f36b1 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 Jamaican Workers at Notaro Farm Description An account of the resource During World War II American farmers had severe difficulties when it came to labor, especially during the harvest season, so the Farm Security Administration (FSA) authorized the creation of farm labor camps. One in Erie County was located just outside of Brant, NY and supplied field hands and canning factory workers. Beginning in 1943 guest workers from Jamaica were the primary occupants of <a href="https://openvalley.org/items/show/1946" target="_blank" rel="noopener">the Brant tent camp</a>. The photograph here identifies them as working for the Notaro Brothers in Farnham, NY. They had never seen tomato seedlings before, but were planting them shortly after their arrival. John Notaro said that "The Jamaicans have the spirit to work and they came just in time....This new labor supply will help us to catch up" ("Jamaicans"). Still, there are news stories from 1943-44 of the Notaro Brothers allowing neighbors free access to unharvested beans, and hastily mobilizing young Farm Cadets to assist with the picking. Works Consulted: "Jamaicans Quick to Learn Farming Methods of North, " Buffalo News 15 June 1943: 1; "Pick 'Em Yourself and You Can Have String Beans Free," Buffalo News 14 Sept. 1943: 1; "Farmer's Bean Crop Saved by Hustling Cadets," Buffalo Courier Express 25 June 1944: 8. Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1943-1944 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 Patty Friend, Town of Brant Historian Type The nature or genre of the resource Still image Brant, NY Erie County Farm labor Farm Security Administration https://openvalley.org/files/original/aa827c51e476350123739baa5d5ae1ee.jpg b7514c7bff41a6c1dce3fe1d099dceb9 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 Physical Dimensions The actual physical size of the original image N/A 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 Janine Pommy Vega Reads Poetry with Migrant Workers, CAMPS program Description An account of the resource Famous poet Janine Pommy Vega was an instructor and translator from 1994 through 2007 in creative writing programs for migrant workers through the Geneseo Migrant Center. Here she is seen facilitating a poetry workshop in CAMPS (Creative Artists Migrant Program) 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 1994-2007 Contributor An entity responsible for making contributions to the resource Fensterstock, Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Type The nature or genre of the resource still image CAMPS Geneseo Migrant Center Janine Pommy Vega migrant art Poetry https://openvalley.org/files/original/04b262188c664a51b4243da539e85d76.jpg 3ea2bd25088177a4b478c0bde7474043 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on board Physical Dimensions The actual physical size of the original image 30 x 40 in. Condition: surface dirt, stained slightly 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 Japanese Garden Description An account of the resource This painting depicts blooming Japanese flora in what appears to be a body of water; however, most of the canvas is negative space, a technique that allows for a higher contrast in colors of Ward’s vegetation. It also is perhaps intended to allow viewers to contemplate life and its meaning, for the flowers and waterlilies surrounding the base of the vegetation—their branches and petals—are flourishing. About the Artist: Ward was born, in Paris, to a family of artists. His father <a href="https://www.metmuseum.org/art/collection/search/13132" target="_blank" rel="noopener">Edgar Melville</a> was a noted genre painter who directed the National Academy of Design for twenty years; his uncle <a href="https://en.wikipedia.org/wiki/John_Quincy_Adams_Ward" target="_blank" rel="noopener">John Quincy Adams Ward</a> was even more famous for his public sculptures. The younger painter studied with <a href="https://en.wikipedia.org/wiki/Edward_William_Carlson" target="_blank" rel="noopener">Edward William Carlson</a>, <a href="https://en.wikipedia.org/wiki/Francis_Coates_Jones" target="_blank" rel="noopener">Francis Coates Jones</a>, and—perhaps most influential—the muralist <a href="https://en.wikipedia.org/wiki/George_W._Maynard" target="_blank" rel="noopener">George W. Maynard</a>. He lived much of his life in Ulster County. As of the mid-1930s Ward, in addition to painting, was a designer and a muralist in his own right (Kingston Daily Freeman 30 July 1936: 7). His “Under Sea Life” was at the Jones Beach Pavillion, and he created several for Wells College, Aurora NY. Creator An entity primarily responsible for making the resource Ward, Edgar Melville, Jr., 1887-1943 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Griffin, Michael (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18285 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB Identifier An unambiguous reference to the resource within a given context 192 Edgar Melville Ward Jr Federal Art Project John Quicy Adams Ward New Deal New Deal Gallery Oil Painting painting https://openvalley.org/files/original/daa8a390510193bb89ef6f481f9d872b.jpg 359ab4ebbe9fc5275bce9b9774d984dc https://openvalley.org/files/original/be0bbe93d7a1b23c67a48857dbc0e3bb.JPG 9dd4513b5c619b705492953a792c81f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: canvas dented, 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 Japanese Garden Creator An entity primarily responsible for making the resource Kadowaki, Motoichi (“Roy”), 1885-1981 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 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 #FA18183 Format The file format, physical medium, or dimensions of the resource jpeg, 970 KB jpeg, 11.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 090 Description An account of the resource A beautifully balanced composition depicts, on either side of its central planter, a knobbly gourd and ringed vase of similar shape. Our conception of what constitutes a garden blurs distinctions between human-cultivated plants and human-created objects, like the polished table, pleasing containers and lacework. As with Kadowaki's NDG still lifes <a href="https://openvalley.org/items/show/1148" target="_blank" rel="noopener">“Japanese Plant”</a> and <a href="https://openvalley.org/items/show/1149" target="_blank" rel="noopener">“Still Life,”</a> a sort of flaming life-force surrounds the objects in gently burning colors—although most pronounced in this painting. About the Artist: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953. Source Consulted: Ruth L. Benjamin, “Japanese Painters in America” Parnassus 7.5 (October 1935): 13–15. Federal Art Project New Deal Gallery painting Roy Kadowaki still life https://openvalley.org/files/original/b376ae63bb54ace5a5daf24e4070f6d1.JPG c3626a1e8d65a3872aafc868b7c1931d https://openvalley.org/files/original/bc98ee4d0938d3d324ba769c2249ba55.JPG 2631cb69118484a0e9376399922a4d0d 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 30 in. Condition: cracked paint, stained, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Japanese Plant Creator An entity primarily responsible for making the resource Kadowaki, Motoichi (“Roy”), 1885-1981 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 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18183 Format The file format, physical medium, or dimensions of the resource jpeg, 911 KB jpeg, 12.7 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 091 Description An account of the resource The plant depicted here probably is a Japanese arrowhead (Saggitaria japonica), which is native to marshes and due to its edible tuber occasionally called a “duck potato.” Kadowaki’s interest certainly is aesthetic—due to its distinctive leafs and graceful stems—and possibly symbolic, given the arrowhead’s remarkable adaptability. Far from wetlands and indoors, this one still is growing vigorously depite a couple of yellow leafs. About the Artist: Born Tokorogo, Japan, Kadowaki immigrated to Seattle, WA in 1909, giving as his profession a tailor for the famous Mitsukoshi department store in Tokyo. He appears to have lived in California shortly after arrival. As of 1917, he was a waiter at an Oyster Bay, NY restaurant; in 1920 he was butler to the son of a US Vice President in Wayne, NJ; in 1930 he was servant to a Murray Hill attorney; in 1940 he was a cook. These occupations all were considered appropriate for Japanese immigrants, and yet Kadowaki persisted in his art. While in California he took classes at the Los Angeles School of Art and Design, exhibiting there in 1910; while in New York, he took classes at the Art Students League and exhibited at the ACA Gallery and Salons of America. In 1926 he designed a whimsical <a href="https://openvalley.org/items/show/987" target="_blank" rel="noopener">cockatoo light</a> made of celluloid. After the Japanese attack upon Pearl Harbor, he was one of seven (along with NDG artist Thomas Nagai) to sign and publish a <a href="https://www.si.edu/object/AAADCD_item_17233" target="_blank" rel="noopener">“Declaration of Japanese-American Artists”</a>: “Let us express here and now our tremendous anxiety for national defense of America; our determination to support it to our utmost as artists and men, and further, to bear arms if necessary to ensure the final victory for the Democratic forces of the world. Whether a Fascist calls himself German, Italian, or Japanese, he is part and parcel of the same plot against all mankind.” Kadowaki became a US citizen in 1953. Source Consulted: Ruth L. Benjamin, “Japanese Painters in America” Parnassus 7.5 (October 1935): 13–15. Federal Art Project New Deal Gallery painting Roy Kadowaki still life