51 10 1323 https://openvalley.org/files/original/26980819600ec86fa9479f0baba3d6a3.jpg 095a1fde52577e23bf530246ca097da5 https://openvalley.org/files/original/b2961ec886a3bc178015d5363971d86e.jpg 97cebce974e5bc32f4b1003b77aaae04 https://openvalley.org/files/original/10c417f3b079b27beff17802816244d5.jpg 4bbbbeb0e7191430f385f998a3d5e3f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 20 x 16 in. Condition: pitted, 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 The Lake Central Park Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Jackson, Madison (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 #FA18093 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 8.7 MB Type The nature or genre of the resource Still image Description An account of the resource Against New York's skyline in the background, people relax in boats upon a body of water. The colors are cooler, with lots of dark and bright greens, and also lots of blues. The boaters are painted in warmer colors, along with red, to make them stand out more. Abernathy's brushstrokes are thick and heavy, giving this painting a rough texture. About the Artist: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more 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>. Identifier An unambiguous reference to the resource within a given context 003 Federal Art Project Inez Abernathy New Deal Gallery Oil Painting https://openvalley.org/files/original/04bf3d1d9f163006380e891f7d8e40a1.jpg 01cdea5ca2edddeee3f1d8ae2200e4a2 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: surface dirt, stains Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Three Roses Description An account of the resource A hilly landscape sets a picturesque scene of three vibrantly colored roses, placed in an ornate ceramic vase. Seemingly supported by a small black table, the vase and the roses overlook a hilly landscape with green grass and a bright blue lake. The sky behind it is a calming blue grey that contrasts sharply with the dark black table. The crisp edges of the table are also in contrast with the rolling hills, and the curved nature of the roses, including the rounded design of vase and how it is decorated. The combination of a clear sky, and pastel colors of pink, blue, green, and tan have a calming effect on the eye. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John [Hebert], 1879-1967 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) McCrohan, Niamh (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 #FA18106 Format The file format, physical medium, or dimensions of the resource jpeg, 801 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 016 Federal Art Project John Alger New Deal Gallery painting still life https://openvalley.org/files/original/445c6aad1b517669e67b624960164d6a.jpg 154253ec5a0daef534c1da07c64cb1dc https://openvalley.org/files/original/bb9d4fbf6a442166be4efaab60694bdc.JPG bf8470de998ac380de63b2d737d12895 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 Lithograph print Physical Dimensions The actual physical size of the original image 16.5 X 12.5 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 Summer in the Berkshires Description An account of the resource This landscape portrays the rural mountainous region in western Massachusetts known as the Berkshires. Sketched entirely in black and white, the rolling hills and clusters of trees appear almost gloomy. A series of farms, divided by thin wire fences, make up the majority of the middle ground. The top half of the lithograph shows a series of light grey clouds, providing a sense of movement that parallels the tall, wispy grasses in the foreground. About the Artist: Born in the Bronx, New York, Brandfield studied at the National Academy of Design, the Art Student’s League and Cooper Union. According to one profile he was “an accomplished woodblock artist and lithographer active in the graphic arts division of the New York City WPA. He has been exhibited at the Chicago Art Institute, Los Angeles Museum, Whitney Museum of American Art and the New York Public Library” (A-D Magazine 6.5 [June-July 1940]). As of 1932 Brandfield was working at the New York Public Library; in 1939, his lithograph “Circus” was selected for a traveling WPA show that stopped in places like Butte, MT; Casper, WY; and Miami, OK. He moved to California at least by 1960 and lived in Grover Beach beginning in 1977, where he continued to work as a printmaker. 6 works at<a href="https://www.nga.gov/collection/artist-info.33227.html" target="_blank" rel="noopener"> National Gallery of Art</a>. 3 works at<a href="https://americanart.si.edu/artist/dayton-brandfield-550" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 17 works at<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Brandfield,%20Dayton$Dayton%20Brandfield" target="_blank" rel="noopener"> Metropolitan Museum of Art</a>. 2 works at<a href="https://gallery.newarkmuseum.org/view/people/asitem/items@null:1010032/0?t:state:flow=26647e75-bdb9-4d0e-9d78-0c931021427e" target="_blank" rel="noopener"> Newark Museum</a>.1 work at <a href="http://collection.artbma.org/emuseum/view/objects/asitem/3201/617/primaryMaker-asc?t:state:flow=01969b8d-780e-489b-bff0-2b9f074d8e64" target="_blank" rel="noopener">Baltimore Museum of Art</a>. 1 work at<a href="https://www.dia.org/art/collection?keys=Brandfield&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener"> Detroit Institute of Arts</a>. 3 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-25" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Brandfield, Dayton, 1911-1993 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) Sheedy, Marianna (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 #FA18122 Format The file format, physical medium, or dimensions of the resource jpeg, 933 KB jpeg, 6.6 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 032 Berkshires Dayton Brandfield Federal Art Project lithograph New Deal Gallery https://openvalley.org/files/original/8d50680a7a7f5dc78135b2b959e54ea4.jpg 28433a36a643702e255bd3ded04e5344 https://openvalley.org/files/original/f305739fe8a1c863ac18f88c97875a09.JPG 5e74ec7782cce040f062ee1696bcfb70 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 20.5 x 16 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 Old Fish Wharves, Rockport Description An account of the resource Cole's painting is very still and serene. There is virtually no movement--even the water is calm--and the air appears suffused with a hazy glow. The scene's imbalanced composition leaves a space for an implied sunrise or sunset at right. Cole's simplification into a few chosen objects draws our eyes to the boats in the water, their color contrasting with the surrounding scenery. About the Artist: 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">New England Magazine</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” (Brooklyn Daily Eagle 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 (Brooklyn Daily Eagle 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 1935-1940 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 #FA18135 Format The file format, physical medium, or dimensions of the resource jpeg, 915 KB jpeg, 10 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 045 Federal Art Project New Deal Gallery painting Thomas Casilear Cole https://openvalley.org/files/original/5318d5a6b43c163f59970925c57eede3.jpg 9b52f63f2f4baf5e5ec11348652f1604 https://openvalley.org/files/original/fdee0a271146ac86ac59b82341e66203.jpg 2ea068ce42c3cefd1fbf653fe2470d8b 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 19.5 x 23.5 in. Condition: chipped, stained, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Open Sea Description An account of the resource A cool colored, slightly impressionistic seascape, "Open Sea" displays the tumult and beauty of waves on the ocean juxtaposed with the serenity of passing clouds overhead. The artist uses the natural contrast between the blue and white colors to evoke mixed feelings of relaxation and suspense. About the Artist: Born in Odessa, Russia, Alexandrovich was trained in Belgium and France before immigrating to the US in 1925 (his citizenship sponsor was fellow marine artist <a href="http://www.askart.com/artist/Ragnar_Olson/102361/Ragnar_Olson.aspx" target="_blank" rel="noopener">Ragnar Olson</a>). At a 1939 show, his art was praised as “bringing to the painting of the sea a sympathetic understanding and a subtlety of expression that set his work apart....Unlike the majority of painters of the sea, he knows the value of mystery and suggestion, and yet with it all contrives to convey a sense of the ocean's resistless weight and might” (New York Sun 29 April 1939: 12). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-15" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Alexandrovich, Albert, b. 1904 Date A point or period of time associated with an event in the lifecycle of the resource 1939? Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Noel, Ricky (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 #FA18101 Format The file format, physical medium, or dimensions of the resource jpeg, 709 KB jpeg, 3.5 MB Type The nature or genre of the resource Still Image Publisher An entity responsible for making the resource available Federal Art Project Albert Alexandrovich Federal Art Project New Deal New Deal Gallery painting https://openvalley.org/files/original/edbb9322a30ded8be035fa5fb87c9129.jpg db4532434ede3a7bb5a3288fc13290c0 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 Watercolor painting Physical Dimensions The actual physical size of the original image 14.5 x 10.5 in. Condition: slightly buckled paper 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 Steamboat Description An account of the resource We see a steamboat on a river, its importance shown via a stack located at the center of Burliuk's composition and by how much space the boat itself occupies--seemingly the width of the river. The watercolor is drawn in a neo-primitive style, especially with the squat figures in foreground. Earth and sky are painted using the same hues; the steamboat incorporates some of them into itself. About the Artist: 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 20th-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 Vanity Fair 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 Russkiĭ golos (Russian Voice). Throughout his life Burliuk was a prolific painter (creating an estimated 18,000 pictures), self-published with his wife Marussia the art magazine Color and Rhyme (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>. 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) Format The file format, physical medium, or dimensions of the resource jpeg, 938 KB 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 #FA18126 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 036 1930s David Burliuk Federal Art Project New Deal New Deal Gallery Watercolor https://openvalley.org/files/original/1ff4efb67bc46a46ab29dd90e77bfc4e.jpg 1aaf40e98a0210f5ba652078b8a5e52a 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 19.5 x 15.5 in. Condition: surface dirt, some peeling 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 Pelham Bay Park #1 Description An account of the resource This painting displays a park scene using a variety of pastels, dusty colors, and vivid greens. We see a sandy sky and cool-toned trees in the background; the middle ground hosts a hedgerow outlined on the bottom with a vivid row of red flowers. In the foreground, three trees stand in full bloom, with two to the left side framing the wall on the right. The wall has a pot and a sculpture that frame the third tree. A sidewalk cuts in front of this scene. About the Artist: We haven’t located much reliable information about this artist. Bank created 4 works for the <a href="https://www.nga.gov/collection/artist-info.7227.html" target="_blank" rel="noopener">Index of American Design</a>, one of which reads: “Unfinished on account of ‘Pink Slip’ September 3rd1937.” Creator An entity primarily responsible for making the resource Bank, Moses 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 1937-04-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) VanOstrand, Griffin (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 #FA18113 Format The file format, physical medium, or dimensions of the resource jpeg, 798 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 023 Federal Art Project Moses Bank New Deal Gallery Oil on Canvas painting park https://openvalley.org/files/original/cc7842b10163fbf2e3e3079bc767207f.jpg 7a3892f8555b23cecdda906d0669c10e https://openvalley.org/files/original/0fa68d0139014032c6b1fcbcf1922e5d.JPG 0c61a2f534f53374bc25641926624781 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: pitted, peeling, 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 Landscape Description An account of the resource Because of its visible brush strokes, this painting is a highly impressionistic landscape of a rocky coastline meeting the sea. Here, the artist makes use of warm reds and browns to contrast the cool, refreshing quality of the ocean with the sturdy, homeliness of the Earth. About the Artist: Born in Odessa, Russia, Alexandrovich was trained in Belgium and France before immigrating to the US in 1925 (his citizenship sponsor was fellow marine artist <a href="http://www.askart.com/artist/Ragnar_Olson/102361/Ragnar_Olson.aspx" target="_blank" rel="noopener">Ragnar Olson</a>). At a 1939 show, his art was praised as “bringing to the painting of the sea a sympathetic understanding and a subtlety of expression that set his work apart....Unlike the majority of painters of the sea, he knows the value of mystery and suggestion, and yet with it all contrives to convey a sense of the ocean's resistless weight and might” (New York Sun 29 April 1939: 12). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-15" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Alexandrovich, Albert, b. 1904 Date A point or period of time associated with an event in the lifecycle of the resource 1939? Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Noel, Ricky (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 #FA18102 Format The file format, physical medium, or dimensions of the resource jpeg, 605 KB jpeg, 4 MB Type The nature or genre of the resource Still Image Publisher An entity responsible for making the resource available Federal Art Project Albert Alexandrovich Federal Art Project New Deal New Deal Gallery painting https://openvalley.org/files/original/62cc1c63a80f6201cae72a42962d703f.jpg a9a909163cd5ad400737950315f86505 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: surface dirt, peeled paint 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 Asters in Chinese Pot Description An account of the resource An ornate ceramic pot serves as the base for seven light pink flowers. With thick brown stems and plenty of green leaves, the flowers stand strong in the pot filled with dirt. The scene depicted on the pot brings culture and an ornate air to the scene. Against a monochrome backdrop, the painting’s foreground encompasses a tan, stitched mat where the pot and flowers are perched. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John [Herbert], 1879-1967 Publisher An entity responsible for making the resource available Federal Arts Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) McCrohan, Niamh (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 #18107 Format The file format, physical medium, or dimensions of the resource jpeg, 636 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 017 Federal Art Project John Alger New Deal Gallery painting https://openvalley.org/files/original/b149174efb31f0cd1d873afcaf3ee204.jpg b9ec5f006110c123ac488f9d7bc7b712 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on Canvas Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in Condition: surface dirt, dent left corner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Summer Landscape Description An account of the resource Baumbach’s work depicts a summer landscape in what appears to be a rural farm town from an aerial view. The colors are bright, and cool tone variations of green dominate much of the space. The greens are contrasted by a blue waterway and a yellow field which stretch across the center of the painting, and by several red building structures that sit at the bottom. Rolling hills stretch back into the horizon. Despite the wide view, there is much attention to detail and the painting also features roads, animals, crops, and fences. About the Artist: Born on New York’s Lower East Side, Baumbach was the son of an upholsterer and largely a self-taught painter. His original emphasis was upon upstate landscapes; later, he moved on to increasing abstraction in his work, influenced perhaps by his friends <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a> and <a href="https://en.wikipedia.org/wiki/Adolph_Gottlieb" target="_blank" rel="noopener">Adolph Gottlieb</a>, but always with his own distinct style. Baumbach was among the founders of the radical journal <a href="https://www.aaa.si.edu/collections/art-front-5779" target="_blank" rel="noopener">Art Front</a> (1934-1937), created as “a publication which speaks for the artist, battles for his economic security and guides him in his artistic efforts” (Art Front 1.1 [Nov. 1934]: 2.) Later, his name would come up amidst investigations into “subversive organizations” by the House Un-American Activities Committee. After World War II Baumbach taught painting at Brooklyn College. Although highly regarded by fellow artists, popular success eluded him: “Strong willed, allergic to fashion, even to success, he persisted in going his own way, refusing to sell to prospective buyers he thought did not admire the work properly and breaking off relations with galleries usually after only a show or two” (<a href="https://www.nytimes.com/2002/01/04/arts/harold-baumbach-98-a-painter-who-explored-color-and-space.html" target="_blank" rel="noopener">New York Times 4 Jan. 2002</a>). He was the father of writer Jonathan Baumbach and grandfather of film director Noah Baumbach. 1 work at the <a href="http://collection.whitney.org/artist/73/HaroldBaumbach" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://hirshhorn.si.edu/search-results/search-result-details/?edan_search_value=hmsg_66.400" target="_blank" rel="noopener">Hirshorn Museum</a>. 2 works at the <a href="https://library.brooklyn.cuny.edu/library/art/index.php?view=single&item_id=68&image_id=56" target="_blank" rel="noopener">Brooklyn College Library</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-18" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Baumbach, Harold, 1903-2002 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Schmeer, Samantha (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 Number: FA18114 Format The file format, physical medium, or dimensions of the resource jpeg, 883 KB Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Identifier An unambiguous reference to the resource within a given context 024 1930s Farm Federal Art Project Harold Baumbach landscape New Deal Gallery