53 10 1323 https://openvalley.org/files/original/3523317856f9f33fd8b2e2bad0660bf8.JPG 016fb79ed5296c4ab1917ad914972716 https://openvalley.org/files/original/f906a77aacd74102dbd61d5c8881bc3a.JPG fce301011a5fbae1eb458b0e7bb78cfa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: stain in 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 The Pasture Lot Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 14.2 MB Description An account of the resource Possibly inspired by a time spent farming in Massachusetts, Nesin’s painting radically flattens the landscape into a tapestry: sky and trees cascade down toward cows behind a fence at bottom. Somewhat abstracted forms give a pleasing roundness and regularity to nature. Nesin appears to set against this a few eccentric details, like a pair of boulders or a crooking fence rail, in the service of visual tension. About the Artist: Born in Krasilov, Russia (modern-day Ukraine), Nesin immgrated to the US in 1902 and received citizenship in 1911. He seems to have been trained as an engraver, although for a period during the 1930s worked as a farmer in Massachusetts with his brother Morris. He exhibited at the Federal Art Project Gallery (1936). Nesin’s painting “Sawing Wood for Winter” appears in a heartbreaking 1944 <a href="https://books.google.com/books?id=CFAEAAAAMBAJ&lpg=PA85&pg=PA85#v=onepage&q&f=false" target="_blank" rel="noopener">Life magazine story</a> on the decision by Colonel Brehon Somervell, the New York WPA administrator, to sell off completed canvases by the pound to a junk dealer. Throughout all these years—and until the end of his life—Nesin was a passionate debater of political issues. As a member of the Socialist Party, he advocated for old age pensions and against conscription during the Great War (he spent six months in jail for speaking on a street corner). Later, with the rise of fascism, he advocated for US vigilance and filled out a draft registration card at age 52. By the end of his life he had renounced socialism: “We walk with the code of Civilization: The Ten Commandments and the great Hebrew Prophets who were every bit Conservative” (New Guard April 1962: 19). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-15" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nesin, George, 1889-1962 Publisher An entity responsible for making the resource available Federal Art Gallery 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18223 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 130 Farm Federal Art Project George Nesin New Deal Gallery painting https://openvalley.org/files/original/cabae0c5789934fd7bfd1b99b33e8cd8.jpg e14b2b7fd94a40cb4e386b2523e4df6c 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 1 map on 2 sheets ; 38 x 170 cm, sheets 41 x 87 cm and 41 x 86 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 Map of proposed Erie Canal Creator An entity primarily responsible for making the resource New York Canal Commissioners Date A point or period of time associated with an event in the lifecycle of the resource 1821 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://digitalcollections.nypl.org/items/510d47da-f059-a3d9-e040-e00a18064a99" target="_blank" rel="noopener">Lionel Pincus and Princess Firyal Map Division, New York Public Library</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB Description An account of the resource Full title of image reads, "A new map and profile of the proposed canal from Lake Erie to Hudson River in the State of New York," and several details indicate the project's state of flux. For example, two different routes west of the Genesee River are shown; however, the surveyors seem to be strongly suggesting that the Southern route is too hilly via their elevation renderings. Also, the city of Rochester doesn't appear on the map, showing how its High Falls (and their waterpower) were both a desirable factor but also not really valuable without a means to transport milled products. Note: object originally consisted of two maps, which have been merged into a single image for display purposes. Type The nature or genre of the resource Still image Erie Canal industrialization Map Rochester, NY https://openvalley.org/files/original/e9d57629cc331d39f364b8edd99990fc.jpg 93330554e427e7e77e6fc8ea5342f343 https://openvalley.org/files/original/02b71a4ae1499ae23dbed1f43f04adf8.jpg 9cb81fb3772e016b5f630c7bc421edef 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 78 x 43 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 U.S. Showing New York Central Lines Creator An entity primarily responsible for making the resource New York Central Railroad Company Rand McNally and Company Publisher An entity responsible for making the resource available Rand McNally and Company Date A point or period of time associated with an event in the lifecycle of the resource 1929 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.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~23947~870012:U-S--showing-NY-Central-Lines-?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=q:%22new%20york%20central%22;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=7&trs=20" target="_blank" rel="noopener">David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 3.2 MB jpeg 650 KB Description An account of the resource By the time of this map a bitter consolidation battle among smaller rail lines had resulted in the creation of New York Central in 1853. Then, under the leadership of aggressive presidents Erastus Corning and Cornelius Vanderbilt, NYC expanded into a regional network encompassing the northeast and Great Lakes Region. It operated more than 11,000 miles of road by this point. The map here shows the various lines and draws attention to its so-called "water route": mostly level grades following rivers and lakes that e nabled the company to design its engines for speed. The Twentieth-Century Limited, which traveled between New York and Chicago, was perhaps its best known line. The map highlights the Appalachian Mountain range its competitors had to navigate in bright yellow--a nice bit of trolling. As with other railroads NYC's fortunes declined after World War II and the rise of highways. It pursued protective mergers with other failing railroads, was absorbed by the Pennsylvania Railroad in 1976, and finally ended up park of the CSX / Amtrak system. Type The nature or genre of the resource Still image Hudson River Railroad Map New York Central Railroad Railroads https://openvalley.org/files/original/d578ac4a2181e92d765b89d9593a9d57.jpg f9091e051fd21c5c1e5bd57ec97c3ccb 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/. Title A name given to the resource New York City's Water Supply System Description An account of the resource Contemporary map shows the three major water supply systems for New York City--the Croton, the Catskill, and the Delaware--along with their constituent reservoirs, aqueducts, and major City Tunnels. This item is in OpenValley to support the Watersheds exhibit. Creator An entity primarily responsible for making the resource New York City Department of Environmental Protection Date A point or period of time associated with an event in the lifecycle of the resource 2015 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://archive.org/stream/2012and2015NewYorkCityDrinkingWaterSupplyAndQualityReport/2015%20New%20York%20City%20Drinking%20Water%20Supply%20and%20Quality%20Report#mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 947 KB Croton Aqueduct Delaware River Deleware Aqueduct Map new york city Watersheds https://openvalley.org/files/original/d241606bf22249e73d090a443306b835.jpg 7607dd5fee7a4871e8ba4a0f9db8bd04 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/. Title A name given to the resource Livingston County state protected areas. Description An account of the resource A map of land protected by the state in Livingston County, including state forests, parks, and wildlife management areas. Creator An entity primarily responsible for making the resource New York State Department of Environmental Conservation Publisher An entity responsible for making the resource available New York State Department of Environmental Conservation 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 Chauvin, Noah Source A related resource from which the described resource is derived Rochester/Western Finger Lakes - Region 8. List of lands you can visit. Format The file format, physical medium, or dimensions of the resource jpeg, 381 KB Type The nature or genre of the resource Still Image, Map conservation DEC Livingston County Map New York Protected Land https://openvalley.org/files/original/e0b3488196c4399078a869b71a127429.jpg b718ad4704cd39c9a7f57f36e35e6dce https://openvalley.org/files/original/9ee1c2131905024ec42de4570d591fbd.jpg 1d2664cfc3b8481aee7254d1a35a46b2 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 Bird's-Eye View Physical Dimensions The actual physical size of the original image 22 x 82 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 Niagara's Great Gorge Trip Creator An entity primarily responsible for making the resource Niagara Gorge Railroad Company Date A point or period of time associated with an event in the lifecycle of the resource 1927 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.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~271863~90045652:Niagara-s-Great-Gorge-Trip-?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=q:niagara;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=407&trs=418#">David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 7.9 MB Type The nature or genre of the resource Still image Description An account of the resource Promotional brochure from the motor age--"There is no Automobile Road Through the Gorge"--was created by an electric railway company started in the early 1890s. Capt. John M. Brinker, a Buffalo businessman, had the perseverance to capitalize a tourist line running between the towns of Niagara Falls and Lewiston, running down through the gorge alongside the Niagara River. Despite considerable engineering difficulties, the line proved popular; tourists would ride in open-sided cars beholding the river's sublime power. A tourist rail line along the Canadian rim had been constructed in 1892, and the two companies were combined in 1902 resulting in the circular route show here. But the gorge's geology, namely a type of shale prone to erosion and rockfall, eventually doomed the railroad. There were fatal tourist accidents in 1907, 1915, and 1917; landslides destroyed portions of the rail lines and rendered it unprofitable. The company dissolved in 1935, but traces of the gorge railway still are visible today. Source consulted: <a href="https://www.amusingplanet.com/2018/06/the-niagara-gorge-railroad.html">"The Niagara Gorge Railroad,"</a> Amusing Planet. bird's eye view Lewiston, NY Niagara Falls, NY Niagara Gorge Railroad Watersheds https://openvalley.org/files/original/312d7f225968f83834b8fa6b400183db.JPG 6c970aa2236229d94cbfe30b29882720 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 on canvas? Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: surface dirt, 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 Wash Day in the Country Format The file format, physical medium, or dimensions of the resource jpeg, 854 KB Description An account of the resource This view adopts some several conventions of folk painting: a non-linear perspective, extremely simplified renderings of structures and people; and a “coverage” of the scene that feels complete. The style was one of several for Nichols. Perhaps most intriguing here is a network of lines, or tributaries, that link together disparate elements. Smoke from a house at bottom reaches a vegetable plot, but goes no further; the trunk of a large tree at center continues upward as a road, and its branches all serves as “paths” to different objects in the painting. The washline at bottom left is just one of many lines. About the Artist: Born in Maywood, IL, Nichols came from a wealthy family and at times struggled to find his own artistic voice. He trained at the Art Institute of Chicago, Chicago Academy of Fine Arts, and the Art Students League. While studying at the Louvre, Paris in 1930, he became friends with the expatriate writer Henry Miller and painted his portrait with the Eiffel Tower in the background. For his part Miller wrote, hyperbolically, that “I feel convinced, when talking to [Nichols] that I am standing in the presence of a genius. I can see in him another Van Gogh, or better.[...] Nichols is a deeply cultured guy, a rich, ripe guy of the autumnal cities, a man of feeling, of intuition, of instinct, but also of great intellect, and of great ego...charming ego...charming effrontery. The child-man, the wonder-man, soft-voiced, musical, sure, suave, convincing, and never-ending” (Cosmodemonic). Not coincidentally Miller observed that a private income freed Nichols “to do what he wants,” which may be why one gallery owner recalled Nichols asking only $5 for his paintings: “I would say, ‘John, I can't give you $5. I’ll give you $20 for it.’ He'd say, ‘I can't accept that’...And whatever happened to John Nichols I don't know, but he painted in a Matisse-like manner and then went off to his own approach....He had marvelous reviews. I think money was not really the thing” (“Oral History”). Nichols’ work was exhibited throughout the 1930s and ‘40s at various galleries in Woodstock, NY, where he maintained a studio. His painting “Buzz Saw” was selected for the “New Horizons in Art” exhibit, MoMA (1936). He exhibited at the Federal Art Show, Woodstock, along with NDG artists Erna Lange, Leon Foster Jones. Ahead of a 1936 solo show at Sawkill Gallery, a press released described Nichols like this: “In spite of his conventional background and training he is somewhat of a rebel against established tradition” (Kingston Daily Freeman 24 July 1936: 6). 6 works at <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Nichols" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. Sources Consulted" <a href="http://cosmotc.blogspot.com/2006/07/john-nichols-and-millers-beard.html" target="_blank" rel="noopener">Cosmodemonic Telegraph Company: A Henry Miller Blog</a>; (<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-bernard-braddon-and-sidney-paul-schectman-12316#transcript" target="_blank" rel="noopener">“Oral History Interview with Bernard Braddon and Sidney Paul Schectman, 1981 October 9,”</a> Archives of American Art). Creator An entity primarily responsible for making the resource Nichols, John Crampton, 1899-1963 Publisher An entity responsible for making the resource available Federal Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1935 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 #FA18224 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 131 Federal Art Project John Nichols Landscape Art New Deal Gallery painting https://openvalley.org/files/original/06c2b4a8ccb31b841b5dc5a3abff67c2.png 15154017b1bca747aa68c9c14e4a1f80 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 Crab in a Plastic Cup Description An account of the resource A crab is floating in a plastic cup in the ocean Creator An entity primarily responsible for making the resource Noel Guevara Publisher An entity responsible for making the resource available National Geographic Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-15 https://openvalley.org/files/original/b49d1f28da3feff0467a8fb6b6bef2ba.png 43c66dafbcee9b6d8b637540e6942e55 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 Key Deer Fawn Creator An entity primarily responsible for making the resource Noni Cay Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived www.medium.com https://openvalley.org/files/original/f5a0f28ce7449a1425c815dc32364c73.JPG c3632177bd1b23b8f61f83928dc72e5b 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 The Pool in Autumn Format The file format, physical medium, or dimensions of the resource jpeg, 992 KB Description An account of the resource The familiar phrase “peak color” receives an ecstatic new meaning in Nordell’s transcendentalist vision, where sun illuminates woodland foliage in fiery hues, then doubles them in a reflecting pool. His figurative rendering of the scene edges toward an impressionist composition in leaf-colors; upstate New Yorkers know this moment and this feeling. About the Artist: Born in Copenhagen, Denmark, Nordell immigrated to the US when he was seven years old and grew up in “a large family with poor parents” in Westerly, RI (Norwich Bulletin 7 April 1910: 6). He nevertheless was able to attend the Rhode Island School of Design, where his talents soon were recognized and led to a productive career, both as a landscape painter and sought-after portraitist. Nordell studied at the Museum of Fine Arts, Boston, under <a href="https://en.wikipedia.org/wiki/Edmund_C._Tarbell" target="_blank" rel="noopener">Edmund C. Tarbell</a>; the Art Students League under <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a>; and the Académie Julian, Paris, under <a href="https://en.wikipedia.org/wiki/Jean-Paul_Laurens" target="_blank" rel="noopener">Jean-Paul Laurens</a>. In 1910 <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015086590703;view=1up;seq=214" target="_blank" rel="noopener">he was awarded</a> the James William Paige Traveling Scholarship for study in Europe. He married <a href="https://books.google.com/books?id=Tl0_m4YaXqkC&pg=PA217&lpg=PA217&dq=emma+alice+nordell+biography&source=bl&ots=nyyviVkDG3&sig=ACfU3U30I4JzEcODq2lO6W28jgz1rayKYw&hl=en&sa=X&ved=2ahUKEwiOgPCE4K_gAhXpm-AKHa23AKUQ6AEwCXoECAUQAQ#v=onepage&q=emma%20alice%20nordell%20biography&f=false" target="_blank" rel="noopener">Emma Alice Parker</a>, an accomplished painter in her own right, in 1912. Nordell’s art was exhibited widely, at the 1915 Panama-Pacific Exposition, San Francisco; the Corcoran Gallery; the Art Institute of Chicago; the Pennsylvania Academy of the Fine Arts; and many others. Nordell appears to have had a special affinity for Western New York, often showing his work at Buffalo’s Albright-Knox Gallery and Rochester’s Memorial Art Gallery; beginning in the late 1920s he spent summers at Chautauqua painting landscapes. Later he lived not far from Lake Erie in Westfield, NY. 2 works at <a href="http://museums.fivecolleges.edu/info.php?s=Nordell&type=all&museum=all&t=objects" target="_blank" rel="noopener">Mead Art Museum</a>. 2 works at the <a href="http://www.clevelandart.org/art/collection/search?search=Nordell" target="_blank" rel="noopener">Cleveland Museum of Art</a>. Source Consulted: Michael Preston Worley, “Carl Nordell,” <a href="http://www.askart.com/artist/Carl_John_David_Nordell/24035/Carl_John_David_Nordell.aspx" target="_blank" rel="noopener">askART</a> Creator An entity primarily responsible for making the resource Nordell, Carl [Johan David], 1885-1957 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18225 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 132 Carl Nordell Federal Art Project New Deal Gallery painting