50
10
1322
-
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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." <br /><br />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.<br /><br />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
17 x 13.5 in.
Condition: surface dirt, slightly pitted
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Fruit and Plant
Description
An account of the resource
<p><span style="font-weight: 400;">A half circular table is placed against the wall. On top of the table is a pile of fruits,pairs, apples and lemons, spilling out of a wooden basket that is sideways. To the left of the basket and behind the fruit is a potted plant that appears to be a cactus. There is a clear reflection in the table of the objects on the table creating a shine to the table. There are visible brush strokes on the canvas which indicates that the painter had impressionist influences. </span></p>
<br /><span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: The son of Lithuanian immigrants, Copen grew up in Coney Island, NY and worked in the family business. He showed his art at a 1939 WPA show at Federal Extension Gallery, Long Beach, NY with a theme of farms and country life; his watercolor was entitled “Curb Market.” Along with NDG artists Fred Adler and Ben Delman, Copen was chosen for a 1941 exhibit at the USDA’s Surplus Marketing Department, in New York City called “Market Scenes”; his paintings were entitled “Street Scene” and “City Markets.” At his death in 2002, Copen donated 2,700 pieces of</span><a href="http://museums.fivecolleges.edu/info.php?t=objects&type=ext&museum=all&id_number=&maker=&culture=&name_title=&object_type=&place_made=&materials=&option7=&description=&credit_line=Copen&option2=&date_made=&earliest_year=&latest_year=&op-earliest_year=%3E%3D&op-latest_year=%3C%3D" target="_blank" rel="noopener"> <span style="font-weight: 400;">African art</span></a><span style="font-weight: 400;"> to Colgate University’s</span><a href="http://users.telenet.be/african-shop/colgate_university.htm" target="_blank" rel="noopener"> <span style="font-weight: 400;">Longyear Museum of Anthropology</span></a><span style="font-weight: 400;"> that he had collected during 1960s-90. 1 more image at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-6" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span>
Creator
An entity primarily responsible for making the resource
Copen, Herman, 1908-2002
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
1937-06
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Ramsay, Elizabeth (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 #FA18140
Type
The nature or genre of the resource
Still Image
Format
The file format, physical medium, or dimensions of the resource
jpeg, 841 KB
jpeg, 8.5 MB
Identifier
An unambiguous reference to the resource within a given context
048
Federal Art Project
Herman Copen
New Deal Gallery
painting
-
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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." <br /><br />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.<br /><br />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: paint slightly chipped
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
Rocky Mountain Highway
Description
An account of the resource
<p>It's likely that Cheney's painting depicts the <a href="https://openvalley.org/items/show/1445" target="_blank" rel="noopener">Virginia Canyon Road</a> near Idaho Springs, Colorado, also known as the "Oh My God Highway" for its hairpin turns and precipitous cliffs. It had been created in the 1800s to access dozens of gold mines in the area; three of those mine shafts (and their tailings) can be seen in an idealized red. Mountains emerge in the distance, creating the perspective of a viewer standing upon a hill overlooking the landscape. The addition of roads throughout the mountain dates to a time when transportation was becoming a vital part of American society. <br /><br />The painting’s impressionist style and proper use of perspective illuminate the artist’s academic training. If one looks closely, one may see the brush strokes used to paint in a muddled yet meticulous way. The style of painting may have easily been influenced by the previous impressionist movement in Europe. Cheney's use of greens and his ability to paint shadows gives viewers a truly natural and realistic portrayal of a mountainous landscape.</p>
<p><span style="text-decoration: underline;">About the Artist: </span>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>.</p>
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
1937-08-24
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography) <br /><br />Evenden, Elana (biography) <br /><br />Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts <br /><br />Object #FA18132
Format
The file format, physical medium, or dimensions of the resource
jpeg, 692 KB <br /><br />jpeg, 10 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
042
Federal Art Project
New Deal Gallery
painting
Philip Cheney
-
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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." <br /><br />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.<br /><br />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, 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
Summer Bouqet
Description
An account of the resource
<p><span style="font-weight: 400;">We see a table with a satin table cloth covering it; on it there is a vase of flowers, all with bright warm colors--red, yellow, and orange. To the left of the vase is a single blue book while on the right there is a pile of brown books. In the foreground of the painting to the right of the vase is a bookcase with neatly filed bound books. In the foreground, on the right side of the vase, is a reflection of the scene in a mirror. The mirror seems to be resting on the table and through the mirror the viewer or the painting is able to see the other part of the room. This painting invokes a feeling of an appreciation for art as it has many books and paintings within the scene. </span></p>
<p><span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: Born in Gardony, Hungary, Csoka—his name sometimes spelled as Csóka István—studied at the Budapest Royal Academy of Art (1922-27) before</span><a href="https://qns.com/story/2017/04/15/world-famous-artist-resided-woodhaven-neighborhood-way/" target="_blank" rel="noopener"> <span style="font-weight: 400;">immigrating to the US in 1934</span></a><span style="font-weight: 400;"> and then working his first seven years as a house painter. Gradually he gained recognition via awards at various exhibitions, including the Society of American Etchers, Library of Congress, Corcoran Gallery, and Art Institute of Chicago. Beginning in 1935 and continuing for fifty anniversaries he gave a painting to his wife, Margaret, about the</span><a href="http://maritalmilestones.com/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“Marital Milestones”</span></a><span style="font-weight: 400;"> of that year. He taught at the National Academy of Design, Hunter College and the Fashion Institute of Technology. In 1962 Csoka published an instructional book entitled</span><a href="https://babel.hathitrust.org/cgi/pt?id=uc1.b4281487;view=1up;seq=6" target="_blank" rel="noopener"> <i><span style="font-weight: 400;">Pastel Painting</span></i></a><span style="font-weight: 400;">. Get ahold of </span><i><span style="font-weight: 400;">Endless is the Way Leading Home</span></i><span style="font-weight: 400;">.</span> <span style="font-weight: 400;">3 works at the</span><a href="http://collection.whitney.org/artist/4595/StephenCsoka" target="_blank" rel="noopener"> <span style="font-weight: 400;">Whitney Museum of American Art</span></a><span style="font-weight: 400;">. 1 work at</span><a href="https://www.nyhistory.org/exhibit/sunday-whitney" target="_blank" rel="noopener"> <span style="font-weight: 400;">New York State Historical Society</span></a><span style="font-weight: 400;">. 3 works at the</span><a href="https://chrysler.emuseum.com/search/csoka" target="_blank" rel="noopener"> <span style="font-weight: 400;">Chrysler Museum of Art</span></a><span style="font-weight: 400;">. 1 more image at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-22" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">. His papers are at the</span><a href="https://www.aaa.si.edu/collections/stephen-csoka-papers-7563" target="_blank" rel="noopener"> <span style="font-weight: 400;">Archives of American Art</span></a><span style="font-weight: 400;">.</span></p>
Creator
An entity primarily responsible for making the resource
Csoka, Stephen, 1897-1989
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)
Ramsay, Elizabeth (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 #: FA18226
Type
The nature or genre of the resource
Still Image
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1 MB
jpeg, 13.1 MB
Identifier
An unambiguous reference to the resource within a given context
133
Federal Art Project
New Deal Gallery
painting
Stephen Csoka
still life
-
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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." <br /><br />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.<br /><br />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: chipped paint, scratched, pencil marks, 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
Old North Church
Description
An account of the resource
<p>The Old North Church towers over a dismal, darkened street. A break of sunlight gradually illuminates the peaks of the buildings, sidewalk near the church, and the almost nonvisible side of the church’s steeple. There is a hazy quality to the painting; it blurs the figures moving down the road, who appear to be shadowy splotches blending in with the sidewalks and cold, bland buildings. Each structure is simple; the only discernible details are the spires, lantern, and belfry of the steeple.<span style="text-decoration: underline;"><span class="Apple-converted-space"> <br /><br /></span>About the Artist</span>: Born in Staatsburg-on-Hudson, NY, Cole was named after two renowned painters of the Hudson River School: <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">Thomas Cole </a>(1801-1848) and <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">John William Casilear</a> (1811-1893). He attended school at the Riverview Military Academy in Poughkeepsie, NY (1900-04) and Harvard University (1905) before turning his attention to painting studied at the School of the Museum of Fine Arts, Boston (1905-11) and Académie Julian, Paris (1912). In 1909, he published a history in <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924065572145;view=1up;seq=357" target="_blank" rel="noopener"><em>New England Magazine </em></a>on Old St. Mary’s Church at Newton’s Lower Falls, illustrated by his own paintings. Cole served in the US Navy between 1917 and 1919, and beginning in May 1918 worked under William Andrew Mackay in a special unit for the <a href="http://www.bobolinkbooks.com/Camoupedia/DazzleCamouflage/download/sciencecamouexplained.pdf" target="_blank" rel="noopener">camouflage </a>of ships and submarines at the Bureau of Construction and Repair. During the final eight months of World War I, more than 1,200 US ships were painted with so-called <a href="https://openvalley.org/items/show/924" target="_blank" rel="noopener">“disruptive coloration”</a>. After the war, he showed his talents at a Knoedler Gallery exhibition of Allied Commander portraits, Cole’s praised as “having a personality all their own with the dark rich coloring in the figures and the well-modeled faces contrasted against the dark background” (<em>Brooklyn Daily Eagle </em>19 Oct. 1919: 77). He went on to exhibit his work widely, including the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. A reviewer of his 1927 exhibition of 33 portraits at Ainslee Gallery wrote: “In all cases the portraits are distinguished by a sincerity and a happy achievement of the most difficult of all painters’ problems, that of satisfying both sitter and himself (<em>Brooklyn Daily Eagle </em>13 Feb. 1927: 59). Cole became so well-known for his portraits that he was often commissioned to paint public and historical figures like President James K. Polk. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/thomas-casilear-cole-papers-7229" target="_blank" rel="noopener">Archives of American Art</a>.</p>
Creator
An entity primarily responsible for making the resource
Cole, Thomas Casilear, 1888-1976
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
Ritz, Abigail (photography)
Michalak, Benjamin (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 #FA18136
Format
The file format, physical medium, or dimensions of the resource
jpeg, 791 KB
jpeg, 9.7 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
046
Federal Art Project
New Deal Gallery
Oil Painting
Thomas Cole
-
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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." <br /><br />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.<br /><br />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 19.5 in.
Condition: peeled, flaked, 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
First Snow
Description
An account of the resource
Coffey's painting is very busy and has a lot of movement going on within it: sweeping, shoveling, sledding, throwing snowballs, and simply talking. Thirty-one distinct individuals, each in motion, give the scene great vitality despite a "Store to Let" sign acknowledging the Great Depression. Another sign advertises "Sobol Bros" and their SOCONY gas station. The painting features many bright colors, particularly reds and greens, which can be seen both on the buildings and on the clothing that people are wearing. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: We haven’t located much reliable information about this artist. Her known works include a 1932 painting of the <a href="https://www.bidsquare.com/online-auctions/sarasota-estate/neva-coffey-1932-new-york-east-river-painting-860417" target="_blank" rel="noopener">East River</a> and an undated gouache entitled <a href="https://www.worthpoint.com/worthopedia/wpa-view-beach-neva-coffey-est-800-163671594" target="_blank" rel="noopener">“View of Beach.”</a> 5 works at <a href="https://www.nga.gov/collection/artist-info.7384.html" target="_blank" rel="noopener">National Gallery</a>, which were created for the <a href="https://www.nga.gov/collection/artist-info.7384.html" target="_blank" rel="noopener">Index of American Design</a>. 4 more images as “Neva Caffey” at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-2" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Coffey, Neva
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)
Rose, Skye (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 #FA18133
Format
The file format, physical medium, or dimensions of the resource
jpeg, 759 KB
jpeg, 11.5 MB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
043
Federal Art Project
Neva Coffey
New Deal Gallery
painting
-
https://openvalley.org/files/original/290cff5ceb14b7b1a235ab02faf464ee.jpg
5e4aa2b0e7269d26ed6fa09a77cff4ff
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." <br /><br />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.<br /><br />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: dented, surface dirt, paint flaked
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Victorian Still Life
Creator
An entity primarily responsible for making the resource
Bowler, Harold
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
Pretzer, Ron (photography)
Cannioto, Sydney (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 #FA18119
Format
The file format, physical medium, or dimensions of the resource
Jpeg, 655 KB
Description
An account of the resource
Half a dozen lily flowering tulips are depicted in a milk glass vessel known as a “hand vase,” a popular design during the 1870s-80s. Perhaps the most interesting aspect of Bowler’s composition is how a soft opalescence is carried across a conch shell, the vase, the flowers, and even the wall behind his still life. Note: for several decades this painting had been mislabeled as Bowler’s <em>Lilies and Shell</em>. <br /><span style="text-decoration: underline;"><br />About the Artist:</span><span> </span><span><span style="font-weight: 400;">Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span></span>
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
029
Federal Art Project
Harold Bowler
New Deal Gallery
Oil on Canvas
painting
still life
-
https://openvalley.org/files/original/36f7537bdc3d79882ece261deeeb6ad6.jpg
4dbc925707ed9bb7a3a0231cc4bc3f51
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." <br /><br />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.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil Painting
Physical Dimensions
The actual physical size of the original image
19.5 x 23.5 in.
Condition: surface dirt
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 with Portrait
Description
An account of the resource
<p>A portrait of a woman looks off, away from a light source igniting the glaze on the canvas, casting a white glow across the surface: below her sits a still life layout of like-colored objects. In the shadow rests a cut-open orange sitting on the stem of a tulip of a similar hue. Beside it is an off-white bowl, holding unidentifiable fruits.<span class="Apple-converted-space"> <br /></span></p>
<span style="text-decoration: underline;">About the Artist</span>: Born in Staatsburg-on-Hudson, NY, Cole was named after two renowned painters of the Hudson River School: <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">Thomas Cole </a>(1801-1848) and <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">John William Casilear</a> (1811-1893). He attended school at the Riverview Military Academy in Poughkeepsie, NY (1900-04) and Harvard University (1905) before turning his attention to painting studied at the School of the Museum of Fine Arts, Boston (1905-11) and Académie Julian, Paris (1912). In 1909, he published a history in <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924065572145;view=1up;seq=357" target="_blank" rel="noopener"><em>New England Magazine </em></a>on Old St. Mary’s Church at Newton’s Lower Falls, illustrated by his own paintings. Cole served in the US Navy between 1917 and 1919, and beginning in May 1918 worked under William Andrew Mackay in a special unit for the <a href="http://www.bobolinkbooks.com/Camoupedia/DazzleCamouflage/download/sciencecamouexplained.pdf" target="_blank" rel="noopener">camouflage </a>of ships and submarines at the Bureau of Construction and Repair. During the final eight months of World War I, more than 1,200 US ships were painted with so-called <a href="https://openvalley.org/items/show/924" target="_blank" rel="noopener">“disruptive coloration”</a>. After the war, he showed his talents at a Knoedler Gallery exhibition of Allied Commander portraits, Cole’s praised as “having a personality all their own with the dark rich coloring in the figures and the well-modeled faces contrasted against the dark background” (<em>Brooklyn Daily Eagle </em>19 Oct. 1919: 77). He went on to exhibit his work widely, including the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. A reviewer of his 1927 exhibition of 33 portraits at Ainslee Gallery wrote: “In all cases the portraits are distinguished by a sincerity and a happy achievement of the most difficult of all painters’ problems, that of satisfying both sitter and himself (<em>Brooklyn Daily Eagle </em>13 Feb. 1927: 59). Cole became so well-known for his portraits that he was often commissioned to paint public and historical figures like President James K. Polk. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/thomas-casilear-cole-papers-7229" target="_blank" rel="noopener">Archives of American Art</a>.
Creator
An entity primarily responsible for making the resource
Cole, Thomas Casilear, 1888-1976
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)
Michalak, Benjamin (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 #FA18137
Format
The file format, physical medium, or dimensions of the resource
jpeg, 876 KB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
047
Federal Art Project
New Deal Gallery
Oil Painting
Thomas Cole
-
https://openvalley.org/files/original/a70ffbc86a3d93aad7f6331dde54599b.JPG
0f67b206c00cba435e9a7f177dc8793d
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." <br /><br />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.<br /><br />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 24 in.
Condition: surface dirt, slightly pitted
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
Easter Bouquet
Description
An account of the resource
<span style="font-weight: 400;">In this still life we see upon a sideboard a pot planted with large lillies, as well as smaller flowers growing around them. There is a book open, which looks to be a highly stylised Bible, propped up in its own rectangular vessel. Given the painting's title which one is the Easter Bouquet--the one including lillies (a traditional symbol of resurrection) or the Bible itself? Both are illuminated against a dark background that seems to encompass more than just shadows.</span><br /><br /><span style="text-decoration: underline;">About the Artist</span>: <span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: <span>Among the most accomplished and internationally known of the New Deal Gallery artists, Burliuk called himself “The Father of Russian Futurism” with good reason. He was an important figure in early 20</span>th-century avant-garde circles, collaborating or exhibiting alongside painters like Kandinsky, Picasso, and Rousseau;<a href="http://nationaltranslationmonth.tumblr.com/post/76356120439/david-burlyuk-translated-from-the-russian-by-alex" target="_blank" rel="noopener"> writing poetry</a> with Mayakovski, Yessenin, and Gorky; and counting as friends composers like Rachmaninoff, Scriabine, Gershwin, and Prokofiev. He painted a portrait of groundbreaking filmmaker Sergei Eisenstein. The multitalented artist—whose name sometimes is spelled Burlyuk—was born in Kharkov, Russia, attended various art schools in Europe, and became an energetic creator of multimedia happenings that anticipate performance art: drinking tea under a suspended piano; staging an exhibition of paintings in a coal mine. His constantly changing style has been characterized as Fauvist, Cubist, Futurist, Social Realist, and Neo-Primitivist. Burliuk lived through the Russian revolutions before relocating to Japan (1920-22) and then eventually to America (1922), claiming to have crossed into Alaska using as his passport a <i>Vanity Fair </i>article about him. He became a US citizen in 1930 and lived the rest of his life on Long Island. Between 1923-1940 he worked as art editor and proofreader for a communist newspaper published in New York called <i>Russkiĭ golos</i> (<i>Russian Voice</i>). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine <i>Color and Rhyme </i>(1931-1966), and wrote several important manifestoes—including<a href="http://391.org/manifestos/1912-slap-in-the-face-of-public-taste-burliuk-kruchenykh-mayakovsky-khlebnikov.html#.XCjJr6lRcWo" target="_blank" rel="noopener"> “Slap in the Face of Public Taste”</a> (1912). Of particular interest for his two works at the NDG and others from the 1930s is a 1926 manifesto entitled<a href="http://www.ubu.com/papers/burliuk_modernists.html" target="_blank" rel="noopener"> “Universal Camp of Radio Modernists”</a> and its vision of an animistic force in the world that infuses his paintings regardless of style: “Everything—from the tiny bug to a tea-spoon—has its specific soul. The whiskey bottle that was on the table is there still forever, but abstract. Consciousness is the possession not only of man, the insignificant particle of creation, but of Mother Nature as well.” 6 works at the<a href="http://collection.whitney.org/artist/201/DavidBurliuk" target="_blank" rel="noopener"> Whitney Museum of American Art</a>. 18 works at the<a href="https://www.moma.org/artists/877?locale=en" target="_blank" rel="noopener"> Museum of Modern Art</a>. 16 works at the<a href="http://ukrainianmuseum.org/burliuk/?q=node/4" target="_blank" rel="noopener"> Ukranian Museum</a>. 399 works at<a href="https://www.wikiart.org/en/david-burliuk" target="_blank" rel="noopener"> WikiArt</a>. 1 more image at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-53" target="_blank" rel="noopener"> FAP</a>. His papers are at<a href="https://library.syr.edu/digital/guides/b/burliuk_d.htm" target="_blank" rel="noopener"> Syracuse University</a>.</span>
Creator
An entity primarily responsible for making the resource
Burliuk, David, 1882-1967
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Domon, Victoria (biography)
Cooper, Ken (biography)
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
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18125
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
035
Format
The file format, physical medium, or dimensions of the resource
jpeg, 914 KB
1930s
David Burliuk
Federal Art Project
New Deal
New Deal Gallery
still life
-
https://openvalley.org/files/original/b9a8a1b79a6a043733e20f45605d0491.jpg
5a3525773982c4948d764b9cfc34e306
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." <br /><br />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.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
oil on canvas
Physical Dimensions
The actual physical size of the original image
30 x 24 in.
Condition: canvas dented, surface dirt, canvas torn
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
Pirates Haul
Description
An account of the resource
<p>This painting depicts a seascape scene in muted tones, its background a washed-out, cloudy sky with a blurred ship in the distance. The middle ground consists of a pastel-toned rocky bank and sea. In the foreground, four men are docked in a small rowboat: two are wearing red bandanas, two have oars in action, one man is holding a wooden chest. The person that is the closest and the most in focus, presumably their captain, is standing on shore with tools, two guns, and rope at his feet. It would seem that they're preparing to bury treasure for contemporary viewers to find.</p>
<span style="text-decoration: underline;">About the Artis</span>t: Born in Naples, Italy, Arcamonte stated his occupation as that of “decorator” when he immigrated to the US in 1906. That trade seems to have persisted alongside his aspirations as a painter, for many years in New York and then after World War II in Miami, FL. In 1937 his paintings were exhibited at the Opportunity Center, a program connecting artists “to the art collector of modern means and undertakes to produce works to fit special requirements” (<em>New York Evening Post</em> 5 June 1937: 7). 1 painting at <a href="https://godwinternbach.pastperfectonline.com/webobject/331640B8-9FDB-443A-81C5-554982521035" target="_blank" rel="noopener">Godwin-Ternbach Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a><span>.</span>
Creator
An entity primarily responsible for making the resource
Arcamonte, Humbert, 1883-1967
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
VanOstrand, Ravenna (biography)
Cooper, Ken (biography)
Ken Cooper (biographer)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #: FA18098
Format
The file format, physical medium, or dimensions of the resource
jpeg, 806 KB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
008
Federal Art Project
Humbert Arcamonte
New Deal Gallery
Oil on Canvas
painting
seascape
-
https://openvalley.org/files/original/bcafd7bc6ef9bace8e69e868a4edae5d.jpg
346d24c4906261d0bf7dcfb9e5b28090
https://openvalley.org/files/original/489c03e701c857aafcafc0b08462f3b8.JPG
eb2dc7e24ef3ce0e35fa8fede168ffa5
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." <br /><br />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.<br /><br />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
20.5 x 16 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
The Oak Tree
Description
An account of the resource
On a purely aesthetic level, this portrayal of rural farm life in autumn is quite clearly done in a painterly matter: quick brushstrokes with a specific choice to omit most detail. It can be assumed that the light-handed application of paint was a specific technique chosen to represent the image’s literal depiction of a calm day in autumn. In the context of its allocation to a tuberculosis sanatorium, the oak tree itself can be analyzed as a symbol of strength--a diagnosis of the disease in the 1930’s meant a slow death.<br /><br />
<p><span style="text-decoration: underline;">About the Artist: </span>Abernathy, Inez. (1873-1956) 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 the<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> 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 (<em>The Weekly True Democrat</em> 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” (<em>San Francisco Chronicle </em>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>.</p>
<p style="margin: 0in; margin-bottom: .0001pt; line-height: 200%;"><br /><o:p></o:p></p>
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
1936-11
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (Photography)
Griffin, Michael (Biography)
Cooper, Ken (Biograpy)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Format
The file format, physical medium, or dimensions of the resource
jpeg, 866 KB
jpeg, 9.64
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
001
Abernathy, Inez
Landscape Art
New Deal Gallery
Oil on Canvas
painting