53 10 1402 https://openvalley.org/files/original/3c25bed932cdfae54786629f1bbbd63b.JPG a085ea719ff2897aab3158398300eb15 https://openvalley.org/files/original/fa341ea6f67266b12da6e7be4f025564.JPG 51db6b43d3aabad013e7b621188b08a8 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 16 x 15.5 in. Condition: good, protected by 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/. Description An account of the resource Pale girl sits atop a pony, protected from the sun’s rays as apples fall from a tree nearby. The pony, meanwhile, stares blankly at the ground. Although Meloy’s familiarity with animals shows in his representation of anatomy and posture, the bright sun (and perhaps his interest in abstraction) washes away finer details of the scene; the watercolor becomes a composition in red, yellow, white, and brown, with carefully chosen accents of blue. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Title A name given to the resource Girl and Pony Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18206 Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB jpeg, 6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 113 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/ee0acae9a3579b3093d0526af7c7f165.jpg ed3d055f03ce0a5ec9d4ec32c5318993 https://openvalley.org/files/original/72ed9673e27d5b67239aaa477a68d75e.jpg 78a5595dd6650c5e62137aab969d04b6 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 Map Physical Dimensions The actual physical size of the original image 53 x 41 cm 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 York: The Empire State Description An account of the resource Advertising map created by the Mentholatum Company promises the "romantic epochs of of New York history paraded before us in picturesque array." Although its text narrative and dates address the state's history, there also are many features of the tourist or "romance" map genre: figures in stylized period costume; winter activities in the Adirondacks; the Empire State Building located wherever it will fit; several sites of business and industry, including a Mentholatum factory located in Buffalo, NY. The map also is interesting for its division of the state into four cultural "influences" indicated by color: French, English, Dutch, and Neutral. The Adirondack Mountains resemble a leaf in fall color. Creator An entity primarily responsible for making the resource Mentholatum Company 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 Cooper, Ken Source A related resource from which the described resource is derived Courtesy of David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB jpeg, 7.9 MB Type The nature or genre of the resource Map advertising Map Mentholatum Company New York State Romance Map https://openvalley.org/files/original/2d5fcd9830b78668d34971c887a188b6.jpg 63fa7a70eb8ced1d7f4e1eb1c8e0566d https://openvalley.org/files/original/9d79009af0583247f812448406176463.jpg b74772787667fdd035a4eb7a0470291d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woman Sitting in Potato Field Description An account of the resource A photo of a woman sitting on something that looks like a bucket in Jablonski's Potato Camp in Steuben City. She has a sack behind her and is surrounded by potatoes. Creator An entity primarily responsible for making the resource Mike Greenlar Publisher An entity responsible for making the resource available Steuben County Historical Society Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Colleran, Justin Source A related resource from which the described resource is derived Geneseo Migrant Center Format The file format, physical medium, or dimensions of the resource jpeg, 512 MB Type The nature or genre of the resource Still Image Geneseo Migrant Center Jablonski Potato Camps Potatoes https://openvalley.org/files/original/36d47babbd8cf20701ef5b184c8a7794.png 19026a15c02e6c654a870224be1f54a1 https://openvalley.org/files/original/d07244bb5aad657ae5c4c37dbb884fb9.png c84d756b0e1c5afdcd36f59360ba1cb3 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Agnes Holy Names Society Description An account of the resource Men's religious society in Avon, NY is part of the worldwide Society of the Holy Name. This photograph shows several members hosting Rev. Adam J. Otterbein, who co-founded the Holy Shroud Guild in 1951, devoted to study of the Shroud of Turin. This photograph, taken at <a href="https://openvalley.org/items/show/2069" target="_blank" rel="noopener">Wally's Inn</a>, identifies the following individuals: Treasurer; Martin Cole; President, Charles Connor; Reverend Adam J. Otterbein, C.S.S.R., Redemptorist Father; Rev. Charles E. Muckle, S.T.B., Pastor of St. Agnes Church; Rev. Edward A. Shamon, assistant pastor of St. Agnes Church; and George Cullinan. Creator An entity primarily responsible for making the resource Miller, Norman Publisher An entity responsible for making the resource available Avon Herald-News Date A point or period of time associated with an event in the lifecycle of the resource 1956-05-31 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Avon Herald-News 31 May 1956: 1 Courtesy Thomas M. Tryniski / <a href="https://fultonhistory.com/Fulton.html" target="_blank" rel="noopener">Fulton History</a> Format The file format, physical medium, or dimensions of the resource .png, 1.2 MB Type The nature or genre of the resource Still image avon voices St. Agnes Church Wally's Inn https://openvalley.org/files/original/56944ca03edec6ced168684b31ace594.jpg 1f5b16b9ef70e6d7187c22b932a44c85 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 Map 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/. Creator An entity primarily responsible for making the resource Miller, Willliam Publisher An entity responsible for making the resource available New York State Museum Date A point or period of time associated with an event in the lifecycle of the resource 1913-12-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived University of the State of New York Bulletin 557 (12 Dec. 1913): 88 <a href="https://archive.org/details/annualreport6611912newy/page/n511/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 739 KB Title A name given to the resource North American Ice Sheets Description An account of the resource The geological Quatenary period, comprising about the past 2.58 million years, has been characterized by the expansion and contraction of ice sheets. This map shows the maximum extent of three major sheets emanating from their "ice centers": Keewatin Glacier (K); Cordilleran Glacier (C); and Labradorean or Laurentide Glacier (L). This last one flowed in two directions around the Adirondack Mountains, one south into the Champlain Valley and the other southwest into the St. Lawrence Valley. Many distinctive features of New York state are the consequence of glacial advance and retreat, like the Finger Lakes, Long Island (itself a terminal moraine), Lake Ontario, and the palisades of Hudson River. Even picturesque boulders are glacial "erratics" carried many miles from their source. Type The nature or genre of the resource Still image Finger Lakes Geology Ice Age Lake Ontario Map Topography https://openvalley.org/files/original/4b6a468086237e87a283e668cff92f5d.JPG 119951ee11817ab640d2c4acb7cad660 https://openvalley.org/files/original/26a314013296a49e727594c1f0df9725.JPG 091de6c25afc36221093834454981b5e https://openvalley.org/files/original/30b2dd4e977926a02c63dbd27a817a63.jpg 829fee7f451ca88bf5b8988504ab7216 https://openvalley.org/files/original/682c44a047ac22474ef4aa80935db2e8.jpg 84cae16ecdd08e81b0c683d8b166085f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 23.5 x 29.5 in. Condition: surface dirt, tack marks, slight peeling and scratches 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 American Farm Description An account of the resource This striking landscape is organized around the single arc of a highway that divides the space into two sectors: above, a brightly lit realm of forests and mountain ridges; below, a shadowed landscape of brown fields, a diseased tree, and a dilapidated farm house. Clearly, the travails of American farmers during the 1930s has influenced Mira’s subject matter. The highway itself is a pristine band of white futurity, guarded on one side by rails and on the other by electric or phone lines (which the farm conspicuously lacks). Improbably, we see three cars on the road along with two people walking alongside; what may be a farmer watches them walk away. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 887 KB jpeg, 11.6 MB jpeg, 655 KB Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18208 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 115 Alfred S. Mira Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/c6b6e23018e82ea8118b2ea96c5cf648.JPG f7d0a0a47e1e468efb3c5aafab5385a9 https://openvalley.org/files/original/08bd8884764d1d0b6b7e11c7d307ffc4.JPG 811b6ab50a6493c2393bed9350c04d41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource June Bouquet Description An account of the resource Luminous still life is not so much about the objects arranged here but how the light plays off them. In a cobolt-blue vase decorated with a rose pattern, we see a bouquet of roses at their peak of beauty and nearly glowing in the soft light. As a traditional symbol of fleeting beauty, however, we may notice a slightly drooping one at right that appears to be casting a shadow upon the wall. Mira’s colors for the table and wall aren’t strictly naturalistic; they’re chosen to coordinate with the tones of his June roses. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18207 Format The file format, physical medium, or dimensions of the resource jpeg, 917 KB jpeg, 11.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 114 Alfred S. Mira Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/62322621785af60b7ac9a4c3332c29fa.jpg 8f32c206a22ae8d402e6b90bd08d1bde Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of 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 Sheridan Square Description An account of the resource Oil painting of Greenich Village nightlife location dismissed by a Federal Writers Project description as "an uninteresting hodgepodge of buildings of varying sizes and ages, suggesting little of the charm that lies beyond its limits." In 1982, a small park was incorporated into this space. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19">FAP</a>. Sources Consulted: Archives of askART, including information courtesy of Brian Roughton Galleries. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 16, Folder 19.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 268 KB Type The nature or genre of the resource Still image Alfred S. Mira Federal Art Project New Deal Gallery New York Oil Painting Sheridan Square https://openvalley.org/files/original/3edb4d3ebd6f815da97cb6e1c009afa7.jpg f29a4565df986a0422d2bec15f69a83c https://openvalley.org/files/original/9a3b35aee1773afc2bc889dbc5c6e4ce.jpg a1a7a50755c0fecb1494cf728c88fabd 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 on paper Physical Dimensions The actual physical size of the original image Image: 10 1/2 x 17 in. Sheet: 14 1/2 x 23 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 Tempest Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Moir, Robert (1917 - 1981) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1941 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Copolla, Victoria (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1323 Type The nature or genre of the resource Still image Description An account of the resource In Moir's murky, expressionist print, the inner state of its subject at center has overwhelmed the world around him. Or perhaps it's simply understandable how, given the dark and claustrophobic setting, a person's psychic state would be tempestuous. This permeable condition is created by a blurring between the edges of objects and their surroundings; figure and ground are very indistinct, as with a woman standing at left. Given her pose, and the man's seated position, it's possible that we're in a subway car or public bus--a claustrophobic proximity with strangers. Viewers see the simmering anger on the man's face, but perhaps no one else does. About the Artist Robert Moir was born on 7 Jan. 1917 in Chicago, Illinois. He was a sculptor and lithographer, formally trained at the Art Institute of Chicago, Columbia University, New York University and the Art Students League of New York. Moir worked in the FAP’s Graphic Art Division, where he developed an emotive, expressionist style inflected with abstraction. As a New York Times reviewer wrote of a solo sculpture show, its first impression was “one of energy contained with difficulty within the writing forms. Figure themes are presented in a semi-abstract manner, but their inspiration is emotional rather than purely formal” (Preston). A similar claim might be made of his earlier prints. Moir’s career came to a halt during the 1940s when he was drafted for WWII, then resumed with gallery shows in New York during the 1950s. His sculptures were featured at successive Whitney Bienniels between 1951-56, including <a href="https://archive.org/details/1951annualwhit/page/n6/mode/1up" target="_blank" rel="noopener">Cumulus</a> (1951), The Expanding Universe II (1953), and Desire (1956). His sculpture Mother and Child (1950) is held at the <a href="https://whitney.org/artists/903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. He died on 11 Feb 1981. 14 graphic works at <a href="https://www.artic.edu/collection?artist_ids=Robert%20Moir" target="_blank" rel="noopener">Art Institute of Chicago</a>. <a href="https://www.philamuseum.org/collection?artist=Robert%20B.%20Moir" target="_blank" rel="noopener">6 works at Philadelphia Museum of Art</a>. 3 works at <a href="https://americanart.si.edu/artist/robert-moir-3373" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 7 images at <a href="https://art.gsa.gov/people/2083/robert-moir/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Stuart Preston, “Sculpture Shown in Galleries Here, New York Times 9 Nov. 1951: 25 <a href="https://timesmachine.nytimes.com/timesmachine/1951/11/09/81777612.html?pageNumber=25" target="_blank" rel="noopener">Link</a>. Federal Art Project lithograph New Deal Museum Robert Moir https://openvalley.org/files/original/89bae04856f45c8849ed5abfc7c8f5a1.jpg b64060aaf732bffecd25e1d6d43b8c49 https://openvalley.org/files/original/b784fc5fd869dd9842c92cd58a189b1e.jpg 2fb41782a47d5792cd5c3c31f3ae4f72 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 on paper Physical Dimensions The actual physical size of the original image 18 x 13 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 Winter Day Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB jpeg, 2 MB Creator An entity primarily responsible for making the resource Moir, Robert (1917 - 1981) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description) Coppola, Victoria (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 1327 Type The nature or genre of the resource Still image Description An account of the resource A city street is rendered using a loosely sketched framework of lines and scribbles, overlaid with lithographic shadings and textures. Some of its details, like a cart in the foreground, remain insubstantial and undeveloped. Several human figures are suggested--pulling a cart, standing on a fire escape, talking outside of a tavern, or walking alongside the street--but they remain ciphers. The overwhelming atmosphere of Moir's print is provided by smoke billowing from two large smokestacks, whose tone and texture suffuse the sky, roads, buildings, and even what appears to be a church. Moir sketches out a physical location in the service of an interior emotion: the bleakness of cities at mid-winter. About the Artist Robert Moir was born on 7 Jan. 1917 in Chicago, Illinois. He was a sculptor and lithographer, formally trained at the Art Institute of Chicago, Columbia University, New York University and the Art Students League of New York. Moir worked in the FAP’s Graphic Art Division, where he developed an emotive, expressionist style inflected with abstraction. As a New York Times reviewer wrote of a solo sculpture show, its first impression was “one of energy contained with difficulty within the writing forms. Figure themes are presented in a semi-abstract manner, but their inspiration is emotional rather than purely formal” (Preston). A similar claim might be made of his earlier prints. Moir’s career came to a halt during the 1940s when he was drafted for WWII, then resumed with gallery shows in New York during the 1950s. His sculptures were featured at successive Whitney Bienniels between 1951-56, including <a href="https://archive.org/details/1951annualwhit/page/n6/mode/1up" target="_blank" rel="noopener">Cumulus</a> (1951), The Expanding Universe II (1953), and Desire (1956). His sculpture Mother and Child (1950) is held at the <a href="https://whitney.org/artists/903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. He died on 11 Feb 1981. 14 graphic works at <a href="https://www.artic.edu/collection?artist_ids=Robert%20Moir" target="_blank" rel="noopener">Art Institute of Chicago</a>. <a href="https://www.philamuseum.org/collection?artist=Robert%20B.%20Moir" target="_blank" rel="noopener">6 works at Philadelphia Museum of Art</a>. 3 works at <a href="https://americanart.si.edu/artist/robert-moir-3373" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 7 images at <a href="https://art.gsa.gov/people/2083/robert-moir/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Stuart Preston, “Sculpture Shown in Galleries Here, New York Times 9 Nov. 1951: 25 <a href="https://timesmachine.nytimes.com/timesmachine/1951/11/09/81777612.html?pageNumber=25" target="_blank" rel="noopener">Link</a>. Federal Art Project lithograph New Deal Gallery Pollution Robert Moir