51 10 1323 https://openvalley.org/files/original/2bfb621aca45048b72e537d91d31ed88.jpg 4cbfe3b9a3a125d48a2d26a58ebbb42f https://openvalley.org/files/original/532b94479f11b548e381fd9238a1e7dc.jpg 7462b18763ed577ea99ffae2b5bdb37e https://openvalley.org/files/original/06f551b4e5c7853e991cf2e4d8212bc3.JPG 7687341fb477dd85229c12912026cf49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jersey Landscape Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18155 Format The file format, physical medium, or dimensions of the resource jpeg, 956 KB jpeg, 4.3 MB jpeg, 17.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 065 Description An account of the resource Spare composition of an open space, perhaps parkland, is most distinctive in its use of linear elements. The horizontals of skyline and a row of plantings across the middle of painting are intersected by verticals of trees and, in the distance, lines of color ascending the hills. At bottom center, where a viewer presumably is invited to enter the landscape, a serpentine footpath gives way to branching possibilities. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/b928901ef6f651bdcec1b7200c95be86.jpg 27e9751364d373aa1d7a98ad1cdec7d1 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 Johana's Mandala Drawing Description An account of the resource This mandala drawing, while simple and unfinished, includes a lot of depth and nuance to it. Created by--or perhaps honoring--Johana, this mandala includes a heart at the center with vibrant flowers growing out of it. In the center of the heart is Johana's name in pencil which is hard to see unless looking closely. The faded name can imply that migrant farmworkers are almost ghosts at surface level to most people. They do a lot of the work that feeds the population but people turn a blind eye to their efforts. Johana's incorporation of shading in this mandala adds to the essence of it along with the curved lines coming out of the heart creating a nice flowing image. This mandala exudes warmth and love through the heart, flowers, and the name printed front and center of it all. 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 Unknown Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB Type The nature or genre of the resource Still image Publisher An entity responsible for making the resource available Geneseo Migrant Center Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts CAMPS Art Geneseo Migrant Center Mandala Migrant Farmworkers https://openvalley.org/files/original/be5c3d0cc46daa8efa6d164e62cdd959.jpg 12a53533513375dc2906c649be3ccb2c https://openvalley.org/files/original/a15192d149a3eace8c9350f3fe3d7699.jpg 752b93ae678833073001336cd131acfa https://openvalley.org/files/original/8fe963777299532b13c8e675fca7a504.jpg 3d4b8a1b2e5b239984578025d7b6f180 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 advertisements 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 John Ball & Co., Produce Elevator Description An account of the resource Number 45 on the Burleigh map, the firm alongside the Erie Railroad dates to 1892 when John Ball (1855-1936) formed a partnership with his younger brother Thomas--who had been a principal in the firm of Ball & Donahue. Eventually their facility came to encompass a grain elevator, a bean dryer, a mill, and facilities for processing coal delivered by the railroad. Beneath this skeletal history are hints of the catastrophes routinely faced by merchants in an era before modern fire-resistant architecture and alarm systems. After commencing operations in 1891, a fire in 1896 destroyed Ball's structure. It was the third major Caledonia fire in six years. The "Advertiser" sardonically recommended that the village "ought to erect a great big portable grand-stand on wheels, so that when a fire occurs the spectators might have comfortable seats" (8 Oct. 1896). Ball's losses were estimated to be at least $15,000, yet two weeks later he already was consulting with a Buffalo architect for a new and "far better" elevator (Caledonia "Advertiser" 22 Oct. 1896). In 1910, the firm constructed a "modern concrete coal shed"--presumably more fireproof than its earlier version. These various advertisements show the company's gradual shift from agriculture to energy, from coal to oil delivery. Publisher An entity responsible for making the resource available Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1. 1918-05-23 2. 1935-10-24 3. 1953-08-06 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History Format The file format, physical medium, or dimensions of the resource 1. jpeg, 474 KB 2. jpeg, 295 KB 3. jpeg, 324 KB Burleigh Litho Co Caledonia, NY Erie Railroad Grain elevator John Ball Thomas Ball https://openvalley.org/files/original/ddf0cc187f633a5bbca15b3ba11211f6.jpg 6059c09d5feb88de22696edf78b8644b https://openvalley.org/files/original/3ce4c6b30119a1853ab92da578a0cdff.jpg ced7ba7b2f203add8540fca0f886213a 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 Physical Dimensions The actual physical size of the original image 2 x 5 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 John Boorman, Wall Paper, Paints, Oils & Artist, Materials Description An account of the resource Number 27 on the Burleigh map, Boorman's store was a frequent advertiser for its many services. The enterprise was started by Thomas Boorman, a Scottish immigrant whose trade of painting and wallpaper led him to open a small store. It grew in size under John Boorman (1867-1927), who seems to have expanded its services, at the time of this map focusing upon wallpapering, painting, custom picture frames, and other home decoration. In later years Boorman was a manager for the Bell telephone company and ran a pharmacy with his brother James. It's quite possible that all of these operations (and more) were parts of a single enterprise--local merchants often wore many hats. Publisher An entity responsible for making the resource available Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1. 1894-07-12 2. 1896-12-17 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History. Format The file format, physical medium, or dimensions of the resource 1. jpeg, 310 KB 2. jpeg, 494 KB Type The nature or genre of the resource Newspaper advertisements Burleigh Litho Co Caledonia, NY Drugs John Boorman https://openvalley.org/files/original/37ed583b442f4ea60d1dade4f9723ffe.jpg c4903fd84caf80d7830fbb39b0edd2bd https://openvalley.org/files/original/59ce3c1aa2723509cbb5dabd1d138707.jpg 9482d2ce87341d9554c10223bb34eb3e https://openvalley.org/files/original/3f27e28f2acd26ebb0ac0df95470fe0a.jpg a1c644bed9971722d76744561d3481ad 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 John Eugene Harmon World War I Photograph Description An account of the resource This is a photograph of John Eugene Harmon in his uniform, upon returning home from military service during World War I. A member of Company C, Sixth Engineers, he had been wounded during the Battle of Amiens in 1918 and recovered in France. Back home at the family's O-Ka-lee farm, he is saluting the camera, with fenced cows in the background. Date A point or period of time associated with an event in the lifecycle of the resource 1919-04-04 Contributor An entity responsible for making contributions to the resource DiPreta, Ariana Source A related resource from which the described resource is derived Harmon Family Collection, Big Springs Historical Society, Caledonia, NY Format The file format, physical medium, or dimensions of the resource jpeg, 545 KB jpeg, 498 KB Creator An entity primarily responsible for making the resource Unknown photographer Caledonia, NY Farm Harmon Family John Eugene Harmon O-Ka-lee Farm World War I https://openvalley.org/files/original/fc832715b52a53db2cc8cd6a8ea5861c.jpg 41e3862dd1bb47495d08592e5d881782 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 John R. Murray Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB https://openvalley.org/files/original/bd5742e878c5bb968354ca5645490fe4.png 928ab92b6f3a261e0012a7a78aad9c50 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Poem 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 Jose Coyote Pérez - "I Am Nature" July 2002 Description An account of the resource This poem written in July 2002 by Jose Coyote Pérez explains migrant farming in a contrasting way. Pérez expresses that he feels like he is nature/the earth because of his good work always being taken advantage of. "Human beings are killing me/even though I serve them so much..." With this being written in July, it is safe to say that the location he was in was having elevated temperatures making it even more challenging for him to work. Yet, Pérez, just like numerous other migrant workers do not have the choice whether to work or not because they are essential workers, just as nature has no choice to give humans what they need because it is essential as well. Creator An entity primarily responsible for making the resource Pérez, Jose 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 2002-07 Contributor An entity responsible for making contributions to the resource Michalkow, Nikolete Source A related resource from which the described resource is derived Lor-Rob Farm Format The file format, physical medium, or dimensions of the resource png, 3.4MB Farm worker Geneseo Migrant Center migrant families Migrant Farmer https://openvalley.org/files/original/6b96d6c48a7e60db7d6fe2c59da557da.JPG 8324672d9eb64ed0670a7f13ba0cbbb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource July Flowers Description An account of the resource A clear glass vase holds a bouquet of mostly red flowers, with one yellow flower in the center. These flowers are thought to be zinnias. The goblet-like vase is sitting on a table draped over with a red patterned tablecloth. The background is a patterned, blue and light-brown wallpaper, leaving the bouquet of flowers to stand out with their bright colors. About the Artist: Born in Gypsum, KS, Swishers appears to have been somewhat of a provocateur from a young age; he started his own newspaper at age eleven and by the next year had been made an honorary member of the State Editorial Association. He studied with Harry M. Walcott at the Art Institute of Chicago, and later with <a href="https://en.wikipedia.org/wiki/Jean-Paul_Laurens">Jean-Paul Laurens</a> at the Académie Julian, Paris. In Chicago, he was among a group who formed the Independent Art Society, seeking representation for local painters (Chicago Tribune 26 Feb. 1916: 11). His works were exhibited at places like the Art Institute of Chicago, the Carnegie Institute, the Whitney Museum of American Art, and the National Academy of Design. For a time Swisher taught art at the University of Kentucky, meanwhile supplementing his income through portrait painting. Judging from peppery letters to the editor over the years, Swisher never lost his interest in the life of a newspaperman. 14 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-30">FAP</a>. Creator An entity primarily responsible for making the resource Swisher, Allan (1888-1960) 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) Apthorpe, Jessica (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council of the Arts Object #FA18276 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 183 Allan Swisher Federal Art Project New Deal Gallery still life https://openvalley.org/files/original/bbbdd3b5c508af7c02e9d3f996057460.JPG 4e05bb649889fc1320100ca865ca1fd9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: 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 July Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 957 KB Description An account of the resource This dramatic still life is created using bold brush strokes and skillful blending, combined with high-contrast lighting. Two vases—one of gladiolus, the other filled with yellow roses—sit upon a small table near a brick wall and arched window. A stem without a rose blossom lies alone, enigmatically. About the Artist: Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on <a href="https://nyti.ms/2S6b0ih" target="_blank" rel="noopener">“Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at <a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin" target="_blank" rel="noopener">Wikimedia</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6" target="_blank" rel="noopener">FAP</a>.               Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. Creator An entity primarily responsible for making the resource Kadulin, Vladimir Fedorovich, 1884-1957 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 #FA18187 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 094 Federal Art Project New Deal Gallery painting still life Vladimir Kadulin https://openvalley.org/files/original/c6b6e23018e82ea8118b2ea96c5cf648.JPG f7d0a0a47e1e468efb3c5aafab5385a9 https://openvalley.org/files/original/08bd8884764d1d0b6b7e11c7d307ffc4.JPG 811b6ab50a6493c2393bed9350c04d41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource June Bouquet Description An account of the resource Luminous still life is not so much about the objects arranged here but how the light plays off them. In a cobolt-blue vase decorated with a rose pattern, we see a bouquet of roses at their peak of beauty and nearly glowing in the soft light. As a traditional symbol of fleeting beauty, however, we may notice a slightly drooping one at right that appears to be casting a shadow upon the wall. Mira’s colors for the table and wall aren’t strictly naturalistic; they’re chosen to coordinate with the tones of his June roses. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18207 Format The file format, physical medium, or dimensions of the resource jpeg, 917 KB jpeg, 11.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 114 Alfred S. Mira Federal Art Project New Deal Gallery painting still life