52 10 1323 https://openvalley.org/files/original/227ebd5bd721aefd340140b9d1c5d296.jpg 9bc03a71bfa0ed72d35c043aad91f62e https://openvalley.org/files/original/b6bb0000bf5138a6a01352a3bc146a1d.JPG c811df2087bb6d0f2abb528341a65f4c 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, tack mark upper right 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 Spring in 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 1936 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 #FA18095 Format The file format, physical medium, or dimensions of the resource jpeg, 929 KB jpeg, 9.3 MB Type The nature or genre of the resource Still Image Description An account of the resource We see a river flowing between two banks lined with trees. The trees are mostly bare however, they appear as they are going to start budding. The colors in this painting are cooler--blues and greens--but there is a hint of warm yellow in the lower left corner. 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 at <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 005 Abernathy, Inez Federal Art Project New Deal Gallery Oil Painting https://openvalley.org/files/original/d49baf1589879b9366362ddfdbbfad7e.jpg 189045f80d6b8b5bcdf1496bcd117078 https://openvalley.org/files/original/c35693978c9f42b23c9c46b3116cd38b.JPG 2d52e298fef1bdc8622d34f3f2f23aca 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 23.5 X 29.5 in. Condition: peeling, punctures 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 10 and Out Description An account of the resource This painting depicts a boxing match, in which one of the boxers successfully knocks out his opponent. The victor, standing upright on the right side sporting turquoise shorts, looks confident and strong as he watches his opponent on the ground along with the referee. His opponent is curled up on the floor of the ring, his face downturned and covered by his arms. The colors are vibrant, and the work’s shadows create a realistic effect. Braverman's painting takes on new significance when considered in relation to economic conditions during the 1930s. About the Artist: Born in New York City, Braverman’s subsequent life tracks alongside the changing fortunes of radical politics in America. He appears to have lived in Chicago, studying in Paris with<a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Lhote" target="_blank" rel="noopener"> André L’hote</a>, but he also was listed as Chairman of the People’s Institute in Toledo, OH during 1911. Perhaps his debut as an artist began in 1907, at age 19, with political cartoons published in To-Morrow Magazine: on subjects like<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA2-PA125&img=1&zoom=3&hl=en&sig=ACfU3U0dyxIxH28CdN4Y610NeODPEO1arg&ci=3%2C116%2C988%2C1597&edge=0" target="_blank" rel="noopener"> plutocracy</a> and class-based<a href="https://books.google.com/books/content?id=xbQRAAAAYAAJ&pg=RA1-PA227&img=1&zoom=3&hl=en&sig=ACfU3U2oi9aYqcwYxsP9E4ouX6zImpxyxQ&ci=125%2C680%2C770%2C960&edge=0" target="_blank" rel="noopener"> sexual politics</a>. During the 1910s “Barney” was Associate Editor and Circulation Manager for The Progressive Woman in Chicago. It was founded as The Socialist Woman in 1907 by Josephine Conger-Kaneko and in 1913 would become The Coming Nation before folding in 1914. He produced the magazine’s<a href="https://openvalley.org/items/show/920" target="_blank" rel="noopener"> masthead</a> much of its political art: on<a href="https://openvalley.org/items/show/918" target="_blank" rel="noopener"> child labor</a>,<a href="https://openvalley.org/items/show/919" target="_blank" rel="noopener"> domestic work</a>, and<a href="https://openvalley.org/items/show/922" target="_blank" rel="noopener"> women in trade unions</a>. Meanwhile, Braverman also was drawing political cartoons for<a href="http://dlib.nyu.edu/themasses/images/the_masses_index.pdf" target="_blank" rel="noopener"> The Masses</a> (1912) and publishing pamphlets like “Suffragists, Watch Out for the Wolf!” (1913). After passage of the Nineteenth Amendment in 1920, and as socialist unity fragmented under the duress of Palmer Raids and systematic anti-red legislation, Braverman became disillusioned and moved into poster art and advertising. By the 1920s he worked for the Curtis Company agency in Detroit, MI and then in 1926 the Hamman group in Oakland, CA.  During his time in Detroit, Braverman played an important role in smuggling copies of James Joyce’s banned novel Ulysses. In 1922, the novelist Ernest Hemingway—who knew Braverman—suggested an arrangement with publisher Sylvia Beach: she would ship 300 books to Windsor, Ontario, where Braverman had rented a room; he would smuggle them across the US border individually, then re-bundle them and ship via a private express company. He asked only to be reimbursed for his expenses (no fee charged) at a time of heavy border patrols during Prohibition. Historian Kevin Birmingham writes that “it required him to break the law every time he crossed the border with a copy of Ulysses, possessed a copy for distribution in Michigan and shipped the book across state lines. He risked a five-thousand-dollar fine and five years in prison, but he would do it anyway” (The Most Dangerous Book: The Battle for James Joyce’s Ulysses 236-237). Later Braverman created works for the Federal Art Project, including “Down and Out” (1937)—perhaps modeled on the boxing paintings of George Bellows, like<a href="https://commons.wikimedia.org/wiki/File:Bellows_George_Dempsey_and_Firpo_1924.jpg" target="_blank" rel="noopener"> “Dempsey and Firpo”</a> (1924). One critic reviewing a 1936 group show complained that Braverman’s “static figures against his dynamic backgrounds drop his picture to a poster level...he suffers from commercial art influence, with its false emphasis on showiness” (Brooklyn Daily Eagle 9 Feb. 1936: 40). But Braverman’s work always had been grounded in the striking image, and postwar Pop Art soon would incorporate both political and commercial iconography. Braverman always had a great interest in films, during the 1940s working upon an authorized biography of the director D.W. Griffith that never was published. He lived the last years of his life in St. Paul, MN. Creator An entity primarily responsible for making the resource Braverman, Barnet, b. 1888 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) 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 #FA18124 Format The file format, physical medium, or dimensions of the resource jpeg, 980 KB jpeg, 12.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 034 Barnet Braverman boxing Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/9256fe546c8d323e4a61ce531aab41b0.jpg ef128dd820872e98b714797a697617a3 https://openvalley.org/files/original/fe81396e07db686b22f99073e2459b6b.JPG d2b92e0f26326b22a16360ac65fe39ea 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 19.75 x 15.5 in. Condition: paint chipped, 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 Blue and Gold Description An account of the resource The depiction of the foreground illustrates a rural setting in the midst of an urbanizing town in the background – a changing sociocultural climate in New York. Abernathy uses a quick, painterly style to show that the brushstrokes are an instrumental part of the canvas, something purposeful given the context of her formal training. She exercises her education in the way she portrays the depth of the painting – the contrast between the two portrayals of different lifestyles emphasizes a changing direction among a rural discourse of life. 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 digital images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a><o:p></o:p> Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-09 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (Photography) Griffin, Michael (Biography) Ken Cooper (Biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object # FA18092 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 11.4 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 002 Abernathy, Inez Landscape Art New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/5cfcb666fed71b1eb204f70fdc1b5908.jpg d2ace026d84ff2344a76b8c0e610f2a1 https://openvalley.org/files/original/0d0b2124bb0add584373c73f54617271.JPG 9edc3f32c39797b4dc48a4e477949906 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 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 White Flowers Creator An entity primarily responsible for making the resource Earl, Godwin, 1860?-1944 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) Bangsil, Kristopher (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 #FA18146 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 11.8 MB Type The nature or genre of the resource Still image Description An account of the resource The subject of this painting is a vase of white flowers. The flowers themselves are large and take up a significant portion of the area, but are balanced out by a multicolored vase underneath. The vase seems to have the pattern of some sort of animal in a variety of colors. The background is beige and displays some shadows, indicating curvature or a corner. The flower and its vase are the only subjects in this painting. About the Artist: There is some contradictory information about this NDG artist, including the Federal Art Project listing his paintings as “Earl Godwin”—perhaps the confusion due to a prominent journalist having that name. Godwin Earl was teaching at the Los Angeles Art Institute as of 1928. For the 1930 census, in Los Angeles, Earl gave his birthdate as 1865 and his birthplace as Argentina; for the 1940 census, in New York, he gave his birthdate as 1860 and birthplace as New York. The 1860 birthdate seems more likely, since in 1941 he penned an epigram entitled “I’m Over Eighty”: “I am very tender hearted, so / I want to gently drop,  / Into a vat of boiling oil, / The pest who calls me ‘Pop’ ” (New York Sun 11 Feb. 1941: 84). Everything that is known about Earl points toward a talented but curmudgeonly painter struggling amidst the Great Depression, in part due to his conservative standards of what constituted art. In response to MoMA’s plan to bring art supplies to soldiers in camps, Earl called it “another futile attempt to make people believe that art is something one can produce after a few days’ practice, as one would learn to whitewash the garden fence at home.” He instead argued for rigorous training (Godwin Earl,<a href="http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201942%20%20Grayscale/New%20York%20NY%20Sun%201942%20%20Grayscale%20-%200398.pdf" target="_blank" rel="noopener"> “Dark View of Art,”</a> letter to editor, New York Sun 22 April 1942: 20). 11 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-40" target="_blank" rel="noopener"> FAP</a>. Identifier An unambiguous reference to the resource within a given context 056 Federal Art Project Godwin Earl New Deal Gallery painting still life https://openvalley.org/files/original/6a2f6b1ce346144afa7d55a0c4ff0ed7.jpg a97b2345d068220901db7a25c158f5c0 https://openvalley.org/files/original/494121908b330723a92be911f16b2c7b.JPG de15ea9a7b22d6655afeaadc678a81b7 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 Physical Dimensions The actual physical size of the original image 28.5 x 22 in. Condition: paper yellowed 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 Farm Description An account of the resource This watercolor painting is a landscape of the quintessential farm in rural America. The most striking objects are the bright colored buildings that contrast with lighter-colored foliage and land. The composition is quite empty, a majority of the space being filled with the land and sky. The buildings are composed of basic shapes with sharp angles but the rest of the painting uses large brush strokes to create a landscape that appears to flow across the canvas. The vehicle that hides in the corner represents the change from traditional farming methods that clashed with the new innovations of the 1930s. About the Artist: Like NDG artists Lucie Bayard and A.E. Cederquist, Cunning was a student of the famous artist-teacher <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art. He remained close to this circle of artists via the Whitney Studio Club, and several of his works were featured in Whitney Bienniels or museum collections: “Old Dock” (1927); “Sunset—New York Bay” (1932); “Roadside Market” (1934). His 1934 painting “Manhattan Skyline,” created for the Public Works of Art Program, is at <a href="https://americanart.si.edu/artwork/manhattan-skyline-6053" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="http://collection.whitney.org/object/2493" target="_blank" rel="noopener">Whitney Museum of American Art.</a> 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3526/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-23" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Cunning, John, 1889-1953 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) Serbalik, John (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 #FA18139 Format The file format, physical medium, or dimensions of the resource jpeg, 833 KB jpeg, 8.6 MB Identifier An unambiguous reference to the resource within a given context 049 Barn Farm Federal Art Project John Cunning landscape New Deal Gallery https://openvalley.org/files/original/39f515ac30d6401d36a138ba468815c2.jpg 78236d1c7feeff6c0232df56c7a0dafe https://openvalley.org/files/original/3358b04d25fae9c46fe0c298b22fcd8c.JPG 0426584f495d5ddd07b211314666eaaf 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 Etching Physical Dimensions The actual physical size of the original image 6 x 8 in. Condition: surface dirt on glass 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 Preaching to the Birds Description An account of the resource This work displays a man suspended off the ground, surrounded by a variety of birds. The man himself looks to be St. Francis. The birds surrounding him are varied, with different species and sizes. The etching is darkly colored, primarily using blacks and whites. Behind the subject, the background is almost entirely black. Elements of circular halos can be seen surrounding the man, and rays of light are emanating from his head. About the Artist: Born in Cologne, Germany to a Jewish family, Eichenberg moved to Berlin where he worked ten years for Ullstein Publications, one of the country’s largest publishers. He fled to New York in 1933 amidst the rise of Nazism. One of Eichenberg’s first jobs in the US was creating illustrations for The Nation and he taught art lessons at The New School for five years; later, he founded the Pratt Center for Contemporary Printmaking. Recalling this challenging decade, Eichberg spoke fondly of WPA support for artists like him: “I went there with a few of my wooden engravings, or prints and asked him what I could do. It was just as simple as that. He said, ‘Oh, this is marvelous work. Go ahead and do what you want to do.’ It was that simple. There were no strings attached to it... I got box wood, which is very hard to get—the WPA had kind of a supply room and everything we needed. You had to say what you needed, and you got it. They bought the tools. They bought the gravers and they sharpened the gravers and you took your material home with you. You just picked it up there—beautiful wood blocks, any size” (<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12479#transcript" target="_blank" rel="noopener">Oral History Interview</a>). Eichenberg became a sought-after illustrator for more than a hundred books—Poe, Dostoyevsky, Turgenev, Swift, the Brontës, numerous children’s stories—but he was especially moved by a request to create prints for Dorthy Day’s Catholic Worker magazine: “She said she had seen clippings of my work in the hovels of coal miners and so on, people in all parts of the world; people who could not read the Catholic Worker but they understood my very simple images of saints and portraits of people important in the Catholic worker movement.” Eichenberg was a witty commentator on current affairs; his print at the NDG references both St. Francis’s sermon to the birds and the pretensions of high-altitude balloon flights during the 1930s, like those undertaken at the<a href="https://archive.org/details/1933-08-07_Stratosphere_Balloon_Falls" target="_blank" rel="noopener"> Century of Progress</a> in 1933. In later life he contributed talks, essays, and books on his medium, including The Art of the Print (1976) and The Wood and the Engraver  (1977). Oral history interviews in<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12479#transcript" target="_blank" rel="noopener"> 1964</a> and<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12736#transcript" target="_blank" rel="noopener"> 1979</a>. 12 works at the<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Eichenberg,%20Fritz$Fritz%20Eichenberg" target="_blank" rel="noopener"> Metropolitan Museum of Art</a>. 19 works at<a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Eichenberg,%20Fritz$Fritz%20Eichenberg" target="_blank" rel="noopener"> Smithsonian Museum of American Art</a>. 105 works at<a href="https://www.harvardartmuseums.org/collections/person/31913?person=31913" target="_blank" rel="noopener"> Harvard Art Museum</a>. 9 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-44" target="_blank" rel="noopener"> FAP</a>, including companions to his lithograph at NDG: “Preaching to the Animals,” “Preaching to the Fishes.” Creator An entity primarily responsible for making the resource Eichenberg, Fritz, 1901-1990 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) Bangsil, Kristopher (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 #FA18147 Format The file format, physical medium, or dimensions of the resource jpeg, 896 KB jpeg, 7.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 057 Etching Federal Art Project Fritz Eichenberg New Deal Gallery https://openvalley.org/files/original/927083af670dc6c9f7794003e397a4eb.jpg 872dd1d8c0327926ddcdd63c5292bd15 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 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 Entrance to Chapel, St. Tropez Description An account of the resource A clean sunny painting that shows a chapel next to a tall tree, beneath a light blue sky. Painted very smoothly with little to no noticeable brush strokes, this illustrates a warm and amiable picture with a pleasant vibe. Boasts a green, light sky blue, and reddish-mahogany color scheme. 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 Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bang, Jay (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 #FA18109 Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Format The file format, physical medium, or dimensions of the resource jpeg, 707 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 019 Federal Art Project John Alger New Deal Gallery painting https://openvalley.org/files/original/3ff15f47a0c1ec168992a6078942bfd7.jpg e7b739fbe08928b0b69c508a8d3d3aaa 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 20 x 24 in. Condition: slightly torn, spotted, 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 Flowers Description An account of the resource Bayard has painted a still life of a blue vase of flowers on the end table. A small wooden box sits next to the vase. The table, box, and wall behind the vase all are a deep reddish brown; this color makes up much of the photo. The flowers in the vase are an assortment of blues, oranges, and whites. There are small peach colored circles on the table, which may be polka dots on the table, or may be fallen petals. There is a light blue along the edge of the right side of the painting, perhaps a window, and what looks to be a frame along the right side. About the Artist: Although we haven’t been able to establish a reliable date or location for Bayard’s birth, an exhibition of her paintings at the MacDowell Club in 1915 for “painters trying their wings in the open” suggests a time somewhere 1899 (Brooklyn Daily Eagle 13 April 1915: 6). She studied with <a href="https://en.wikipedia.org/wiki/George_Luks" target="_blank" rel="noopener">George Luks</a> and <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the Art Students League, the latter painting her portrait in <a href="https://www.wikiart.org/en/robert-henri/the-green-coat-1919" target="_blank" rel="noopener">“Green Coat”</a> (1919). Likewise, she was the subject of George Bellows’ “Lucie” (1915) and remained good friends with the family. Her work appeared at the Society of Independent Artists (1917), the Allison Gallery (1945), and at various Woodstock shows. In 1951 she had a solo exhibition at the Mollie Higgins Smith Gallery, Woodstock, where a review praised her pastels for possessing “an unusual quality of depth and rich strong color not normally associated with the delicate medium” (Kingston Daily Freeman 10 Sept. 1951: 5). A Woodstock News article on Bayard noted reviews in praise of Lucie’s work from Art Digest and Art News:[In] Miss Bayard’s painting – the flowers …possess vitality that contributes animation to each canvas – while their soundness of tactile substance does not prevent the impression of their fragile ephemeral character. She has a rich sense of color. Her work is modern and spirited – a vitality which flows, perhaps from the rapidity of execution and reveals a sure and personal touch.” 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-20" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Bayard, Lucie 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) 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: FA18115 Format The file format, physical medium, or dimensions of the resource jpeg, 729 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 025 Federal Art Project Lucie Bayard New Deal Gallery painting still life https://openvalley.org/files/original/4cf9f9f163e2151233e86cec623374b3.jpg 9013e87c41cf6bbb86e5066f22a8ddfb https://openvalley.org/files/original/9ca775330c332de492f8e4de3d7af79c.JPG e400bd4f6913b3be678e0151ad52f5e3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 29.5 x 24.5 in. Condition: cracked 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 California Fruit Description An account of the resource A rectangular table is the platform for dried flowers and branches in an ornamental vase, a clear pedestal fruit bowl filled with pears, grapes and nectarines, as well as a small serving platter holding the same fruit. The vase and table are adorned with cool-colored shapes, without pattern. A blue fabric with pronounced brushstrokes is draped diagonally across the table from the wall behind it. A framed painting in the background juxtaposes the dried contents of the vase with a depiction of green tree leaves. About the Artist: Born Benzion Elias Delman in Jerusalem, Palestine, this NDG artist studied at the Bazelel Academy of Arts and Design and then in Paris before immigrating to New York in 1915. As of 1918 he was a staff artist for the Jewish Daily News. Delman became a citizen in 1923, and eventually moved to Chicago in 1942. His works were featured in exhibits sponsored by the National Academy of Design (1932), the New York City WPA—“Market Scenes” at the USDA in 1941, along with NDG artists Fred Adler and Herman Copen—and by the Art Institute of Chicago (1947). Delman is a study in perseverence: during the late 1940s he was working in the notions department at Mandel Brothers’ department store in Chicago, and did most of his painting (and etching) at night. His “Figure of an Old Man” at the gates of Jerusalem was shown at a 1949 exhibition sponsored by the store. The Mandels had “expected a few workers to turn up with stamp and shell collections and they were aware that a couple of salesmen liked to paint still lifes—but they weren’t prepared for the scores of employees who volunteered to exhibit” (Chicago Tribune 12 Jan. 1950: 26). 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-9" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Delman, Ben E., 1898-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Anderson, Justin (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 #FA18142 Format The file format, physical medium, or dimensions of the resource jpeg, 836 KB jpeg, 11.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 052 Ben Delman Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/2fd27131abc7a5db4981d324ee87a094.jpg 07c270c3a0149efd31f524069eb35cb9 https://openvalley.org/files/original/22b08a55582d5adeceb18ab67a6ca51f.JPG a7fcbe38f93177ddf826c7628165904c 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 30 x 24 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 In the Early Spring Description An account of the resource This painting depicts a scene that combines natural elements with man-made features. The brick wall is clearly defined in the forefront of this painting, but our attention is directed to the waterfalls that flow behind it. The wall varies in height and seems to take on the shape of the waterfall behind it. Gaps and layers of the wall give the illusion that the waterfall is part of the man-made structures. The dreary background is abundant with parallel lines that make it appear as its own type of wall. About the Artist: Like NDG artists Lucie Bayard and A.E. Cederquist, Cunning was a student of the famous artist-teacher <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art. He remained close to this circle of artists via the Whitney Studio Club, and several of his works were featured in Whitney Bienniels or museum collections: “Old Dock” (1927); “Sunset—New York Bay” (1932); “Roadside Market” (1934). His 1934 painting “Manhattan Skyline,” created for the Public Works of Art Program, is at <a href="https://americanart.si.edu/artwork/manhattan-skyline-6053" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="http://collection.whitney.org/object/2493" target="_blank" rel="noopener">Whitney Museum of American Art.</a> 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3526/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-23" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Cunning, John, 1889-1953 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 (photographer) Serbalik, John (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18140 Format The file format, physical medium, or dimensions of the resource jpeg, 848 KB jpeg, 10.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 050 Federal Art Project John Cunning Landscape Art New Deal Gallery painting Waterfalls