53 10 1323 https://openvalley.org/files/original/30f695be750065338b37433034fe055d.jpg 0dd1e663cdac54ee9216e0cb582ef6c6 https://openvalley.org/files/original/db7223302ac5d70a3677e69bfd5b4b8c.JPG debb5a82f5a0b60a3e94ba92e6ca0cc8 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: 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 The Goldfish Globe Description An account of the resource A woman, sitting on a backwards chair, observes a clear bowl with four swimming goldfish. A round table is the platform for the bowl; an empty, yellow-covered book; dried branches in a small vase; grapes; and a pear. An unknown light-source illuminates the woman, as sunlight simultaneously enters the room through a closed window in the middle ground. Similar apartment buildings occupy the background. Cool colors, warm colors, confinement behind glass and a blank expression are shared between the woman and the fish. 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 perseverance: 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 1937-03-09 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, 1.1 MB jpeg, 14.1 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 053 Ben Delman Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/dd8282dac2411a92b40b8fb2aa94b99d.jpg 205e6353ff6f7cc400bc7dcef073c719 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 14.5 x 21 in. Condition: surface dirt, colors faded 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 Pink Cloister Creator An entity primarily responsible for making the resource Gaige, Richard T[homas], 1907-1992 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 1937-08-24 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 #FA18159 Format The file format, physical medium, or dimensions of the resource jpeg, 680 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 069 Description An account of the resource With the exception of this watercolor's foreground, much of Gaige's composition relies on evocative applications of color hovering above negative space (particularly at upper right). Exotic greenery is set against a carefully penciled arch, while a line of red bricks crosses through the foliage as an undercurrent. About the Artist: Born in Candor, NY, Gaige grew up in Binghamton and graduated from the School of Art at Syracuse University. He then moved to New York City where he worked as a painter, a freelance designer, and a teacher at the Parsons School of Design. His own innovations for a line of women’s compacts, cigarette cases, and coin cases for Volupté was recognized at the Museum of Modern Art’s exhibition <a href="https://www.moma.org/documents/moma_catalogue_2789_300190548.pdf" target="_blank" rel="noopener">“Useful Objects of American Design Under Ten Dollars”</a> (1940). Along with his design work during the 1930s, Gaige was employed by the Federal Art Project. In 1942 he enlisted in the Army, serving first as a structural draftsman at Fort Dix, NJ, where he was featured in a humorous article on subject of slang between soldiers and their sweethearts:“This sugar report is coming straight from second heaven. You should cop a gander at the taxpayers straggling in. This new bunch of handcuffed volunteers has everything including short pants, battle wagons, moss backs, cruisers, modern guineas and a Hollywood private to snow ‘em under” (Cross). Gaige later became a writer-artist for Yank newspaper, traveling to the Middle East. The probable cause for this shift in direction was the positive reaction to his cartoons about military life, eventually collected into a book entitled Me and the Army. One critic wrote that “Every right page is filled with rough and ready sketches, full of life and keen observation, of all that goes on during the early days of training. Gaige may not be a great artist, but is a great observer of human activity from the mass nudity of medical inspection to the calm dignity of church service. The book is really a letter from a soldier to the folks at home—any soldier to any parents” (Dungen). After the war Gaige lived first in Pennsylvania and then in Miami. 11 images at <a href="https://openvalley.org/items/show/983" target="_blank" rel="noopener">OpenValley</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-12" target="_blank" rel="noopener">FAP</a>. Sources consulted: Christopher Cross, “How to Write to Him in His Own Language” (Albuquerque Journal 18 Oct 1942: 15. H.L. Dungen, “Witty Discourse on Army Life,” Oakland Tribune 20 June 1943: 19. Donald G. Taggart, History of the Third Infantry Division In World War II (Infantry Journal Press, 1947). Federal Art Project New Deal Gallery painting Richard T. Gaige https://openvalley.org/files/original/dd8eefb8fc321e2cdd7b8e53ac64ca13.jpg b0bef42d368f3ac845eedd054be2289b https://openvalley.org/files/original/af7b2d0bbe9af88997372c2ae793d9eb.JPG b04a0366917a5b6caa517d06aa2a9263 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 Sea Bass Creator An entity primarily responsible for making the resource Earl, Godwin, 1860?-1944 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Format The file format, physical medium, or dimensions of the resource jpeg, 782 KB jpeg, 12.3 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18161 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 071 Description An account of the resource One of the more challenging still lifes you'll see, Earl strips down his painting to three primary objects: a cermanic casserole, two lemons, and the eponymous sea bass. Perhaps a third of his composition is given over to an unadorned countertop. If this were cuisine, the message would be: if you have good fish, don't adorn it unnecessarily. Perhaps Earl conceived of his shimmering bass in a similar manner. 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>. Federal Art Project Godwin Earl New Deal Gallery painting https://openvalley.org/files/original/626274b5724f4aa2e2afcc2a9c6d0e16.jpg a7ee4d50c55056b0236785529714137c https://openvalley.org/files/original/a6fb32506701cdb163694825cf07e56e.JPG 43f591fed13d37a5a345da979fcf8c46 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 Still image Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: surface dirt, paint peeled Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Lake Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 1935-1940 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 #FA18162 Format The file format, physical medium, or dimensions of the resource jpeg, 950 KB jpeg, 13.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 072 Description An account of the resource In the foregound, trees bent through years of snow; behind them an alpine lake and glaciered mountain under cerulean skies. Much of this painting is based upon a pair of complementary colors, played out in different juxtapositions. In subject matter (the mountains) and its color palette it resembles other works of this period, all of them perhaps owing a debt to Maxfield Parrish. We haven’t located any reliable information about this artist. Please contact us if you're able to help. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/68f05c40db5f88fd93f0763341b0c044.jpg 352ad2d40d84f0c732eb8b502620316c https://openvalley.org/files/original/0593169275ae15f80dea00406f2a4b9a.JPG 9108d32f8b91e201d5896ed7a9df407b 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 Woods and Stream Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18163 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 17.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 073 Description An account of the resource Judging from the brushstrokes, we appear to be located at a river's bend, our view of the sky obstructed by trees but inferable by a play of light in the water. With the exception of two sharply defined tree trunks, most of Gordon's painting emphasizes autumnal color over form; a few dabs at lower right become a principle drama. About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/72a6cecfd0cc3129963607f063b7bdfe.jpg e759a2ceaf8bebe6feaaf4048fd8caf6 https://openvalley.org/files/original/941120cd4abc61ed1adf0bacef3c58e9.JPG 4728c6ab59f667fdc376b9df3aac3c2b 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: dirt, painting thinning 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 Pool Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18164 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 15.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 074 Description An account of the resource A mass of rocks at upper left is mirror by rising ground at lower right in this impressionist composition. Earth tones predominate, even in the water's surface, except for a delicately colored sky and treetops--at sunrise or sunset? About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/6967e930debb7c85ef48847aed7b5c85.jpg 175bdad476fdce1aa9f71a457aa5abb9 https://openvalley.org/files/original/36172ab4d52f216e878ed6d7c2224384.JPG 3c7df64f2e1285b40b4671dc64b33cd7 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 19.5 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 The Two Birches Creator An entity primarily responsible for making the resource Gordon, Benjamin T., 1878-1940 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 #FA18165 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 13 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 075 Description An account of the resource The title of this painting isn't clear; it's inscribed as "Gray Day" on the frame, but listed as "The Two Birches" in its NDG and General Services Administration records--which is followed here for the sake of institutional continuity. The canvas itself shows Gordon's talents as an evocative colorist, using cool tones of gray, rose, mauve and green. As in his other NDG works, tree trunks are one of the few elements that are sharply delineated. A light source at top center suggests that it may owe something to the moonlit landscapes of <a href="https://en.wikipedia.org/wiki/Ralph_Albert_Blakelock" target="_blank" rel="noopener">Ralph Albert Blakelock</a>. About the Artist: We haven’t located any reliable information about this artist. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-11" target="_blank" rel="noopener">FAP</a>. Benjamin T. Gordon Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/bd6040f043c4174a83fbedd7e521fae4.jpg 5db0dc529ac475c453367c892404bc08 https://openvalley.org/files/original/3bab745194936e94890314af79cb9289.JPG f472688e0e62499d4994e86b71b995cb https://openvalley.org/files/original/a8a53d3234c33cfebcf62829714e9894.jpg 267b190707bb34cec96ea7af2c828a50 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 12 x 15.5 in. Condition: paper rippled 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 100 Years Pass Creator An entity primarily responsible for making the resource Guy, James Meikle, 1909-1983 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18167 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 9.6 MB jpeg, 1.2 MB Description An account of the resource A neoclassical mansion, accessorized by ancestral family tree, looms over a woman wearing a long dress at lower left. Upon closer viewing the coherence of this scene breaks down; she's carrying an axe in her left hand, a la Lizzie Borden, along with something in her right hand we cannot see. Moreover, any attempt to inhabit a romantic tableau of the past is undermined by an historical marker on the front lawn--or is it a 1930s highway sign?--along with an airplane flying overhead. About the Artist: Born in Middletown, CT and trained at the Hartford Art School, Guy was among the earliest Americans to see European surrealism via a 1931 show at the Wadsworth Atheneum on the <a href="https://youtu.be/1UNpfGZ3wy4" target="_blank" rel="noopener">“Newer Super-Realism.”</a> Thereafter he was strongly influenced by painters like <a href="https://en.wikipedia.org/wiki/Salvador_Dal%C3%AD" target="_blank" rel="noopener">Salvador Dali</a>, <a href="https://en.wikipedia.org/wiki/Giorgio_de_Chirico" target="_blank" rel="noopener">Giorgio de Chirico</a>, and <a href="https://en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco" target="_blank" rel="noopener">José Clemente Orozco</a>. At the same time, Guy’s work was characterized by a sharp satirical edge that may have owed something to his own work experience—after high school he had tried selling rugs and typewriters; was a sailor and census-taker—and to his political activities, including membership in the radical John Reed Club. In 1930 he helped stage a 1930 labor play entitled Strike; amid unsuccessful attempts to stage it in New York, Guy remained in the city. During the Great Depression Guy was among the leaders of the Unemployed Artists Group (later renamed the Artists Union), which advocated government support for the arts and later resisted proposed cuts to the Federal Arts Program. Guy’s paintings were exhibited at the Wadsworth Atheneum Annex (1931), the ACA Gallery (1937), American Artists’ Congress (1937), a “Fight War and Fascism” show at the La Salle Gallery (1937), Federal Art Gallery (1938), Boyer Gallery (1939), and Ferargil Galleries (1941). In 1936 he married the respected woodblock artist Clara Skinner, and they co-exhibited at several shows. Guy also undertook public mural projects, referenced only as located in Mexico and “New York churches” (Older). One that is known was a 1934 three-panel project for the Hartford Public High School’s cafeteria on the production of food: “The New England fishing industry is at its center—the port of Gloucester, Mass.—is brought to life in the first panel. The second reveals the story of the wheat belt; fields of grain, elevators, transportation on the Great Lakes. From pastures to stockyard, the cattle industry is recorded in the third” (Older). Perhaps the peak of Guy’s popular recognition, by that time including the epithet of “Yankee Surrealist,” involved a 1941 portfolio of paintings published in Esquire magazine as <a href="https://classic.esquire.com/issue/19410801/print" target="_blank" rel="noopener">“Fun in Ghost Town.”</a> “Today he is more or less established,” the profile stated, “if somewhat precariously....James Guy may be called a depression period radical, for there is nothing in his background or conditioning which would make inevitable the questioning of social values that has been going on in his picture making” (Saltpeter). During World War II Guy worked at the Pratt Read glider factory in Deep River, CT where his visual style changed markedly into a futurism he called “industrial symphonies” (Dickinson). After the war he taught art at Bennington College, MacMurray College, and Weslyan University—with a sabbatical of several years during which he wrote and photographed articles on fishing for outdoor magazines (Stedman). 2 works at the <a href="https://www.nga.gov/collection-search-result.html?artist=Guy%2C%20James%20Miekle" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Ernest Dickinson, “Paints ‘Symphonies of Industry’”, Hartford Courant 15 Oct. 1944: 67; Ilene Susan Fort, “Social Surrealism,” Archives of American Art Journal 22.3 (1982): 8-20; Gerald M. Monroe, “Artists as Militant Trade Union Workers During the Great Depression,” Archives of American Art Journal 14.1 (1974): 7-10; Cy Stedman, “Return of an Artist,” Hartford Courant 19 Jan. 1958: 114-115; Harry Saltpeter, “Guy: Ghoul of the Ghostly West,” Esquire 16.2 (Aug. 1941): 86-87; Julia Older, “Hartford Public Buildings Richly and Lastingly Adorned as Uncle Sam Becomes Nation’s Most Lavish Art Patron,” Hartford Courant 1 Jul. 1934: 59. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 077 Federal Art Project James Guy New Deal Gallery Social Surrealism Watercolor https://openvalley.org/files/original/9dc84a66006decb9a4d1e34a129af19f.jpg cedcc2f17e0c62744385f60e7ad75def 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 36 in. Condition: surface dirt, peeling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sunflowers Creator An entity primarily responsible for making the resource Gubin, Selma, 1903-1974 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 #FA18168 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 078 Description An account of the resource A riot of fourteen sunflower blossoms fills the borders of Gubin's composition, in hues of vivid red, orange, and yellow. Combined with their foliage, it takes an effort to locate the flower's container--a warm brown vase possibly incorporating a gourd into its design. The arrangement is set against the clapboard of a house's exterior, completing a vision of informal, everyday beauty. About the Artist: Born in Kiev, Russia, Gubin immigrated to the US in 1909. She studied art at Hunter College, the Art Students League, and New York University; her teachers included <a href="https://americanart.si.edu/artist/raphael-soyer-4566" target="_blank" rel="noopener">Raphael Soyer</a>, <a href="https://americanart.si.edu/artist/byron-browne-621" target="_blank" rel="noopener">Byron Brown</a>, and <a href="https://americanart.si.edu/artist/john-sloan-4476" target="_blank" rel="noopener">John Sloan</a>. Initially she supported herself as an office worker, but in 1933 managed to aquire a hot dog stand on Rockaway Beach that freed up time for her painting (Syracuse Post-Standard 24 Jan. 1973: 28). Gubin’s art was exhibited at the Muncipal Art Gallery (1938), ACA Gallery (1941), and the Woodstock Artists Association (1955). She was recognized with the F. W. Weber award by the National Association of Women Artists. Gubin often is mentioned as a teacher of art; along with private lessons, she managed the summer Timberline camp at Jewett, NY (a progressive hotbed <a href="https://archive.org/details/investigationofcny195305unit/page/1379" target="_blank" rel="noopener">later investigated</a> by the House Un-American Activities Committee). In later years she extended her classes to disadvantaged children: “When she wants to motivate them, Miss Gubin paints portraits of the youngsters, as they appear to her in class. Her happiest experience came when she brought a smile to a little girl’s face. ‘Why are you so sad?’ the artist asked her student. ‘My mother told me I was ugly, and mothers always tell the truth,’ explained the girl. Miss Gubin then painted a portrait of a pretty, smiling girl—with a flower in her hair” (Syracuse Post-Standard 11 Feb. 1974: 17). 2 works at <a href="https://americanart.si.edu/artist/selma-gubin-1978" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.harvardartmuseums.org/collections?q=selma+gubin" target="_blank" rel="noopener">Harvard Art Museum</a>. 1 work at <a href="http://museums.fivecolleges.edu/detail.php?museum=all&record=0&v=2&s=selma+gubin&type=all&t=objects&f=&d=" target="_blank" rel="noopener">Smith College Museum of Art</a>. 2 works at <a href="http://emuseum.delart.org:8080/emuseum/view/people/asitem/search@/0?t:state:flow=a29f2d1c-7a33-44c5-8ae4-3dfb0e1fc930" target="_blank" rel="noopener">Delaware Art Museum</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-39" target="_blank" rel="noopener">FAP</a>. Federal Art Project New Deal Gallery painting Selma Gubin https://openvalley.org/files/original/4eabb6c0a9a643260b29aae1f7fda4da.jpg 202b39982b716f32b6982034ee10c66d https://openvalley.org/files/original/3606af3a9825ad92f3f5b47c4ec08aa1.JPG 8fed4079ce1aac029cdae0de85f6460e 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 19.5 in. Condition: surface dirt, pencil marks, stains Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Field Flowers Creator An entity primarily responsible for making the resource Hartl, Leon Joseph, 1889-1973 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 #FA18170 Format The file format, physical medium, or dimensions of the resource jpeg, 991 KB jpeg, 11.9 MB Description An account of the resource The setting of this composition blurs the genres of En plein air landscapes and still lifes; there is no "background" to situate the basket of flowers in space, but the grass underneath them departs from carefully artificial indoor settings. A few buttercups growing in the grass echo those already collected for Hartl's basket. Hovering in space, the stems sometimes are so delicate that their blooms appear to be floating. About the Painter: Born in Paris, Hartl immigrated to the US in 1912 and became a citizen ten years later. His professional background had been with aniline dyes, working with ostrich and other rare feathers for milliners and couturiers. In 1922, he entered into a partnership with <a href="https://en.wikipedia.org/wiki/Marcel_Duchamp" target="_blank" rel="noopener">Marcel Duchamp</a> creating a fabric and feather-dyeing shop that went bankrupt six months later. Hartl always held jobs out of necessity, painting his landscapes and still-lifes on Sundays, but was widely respected for his art. After viewing a 1924 show at Minneapolis Institute of Arts, one critic wrote that “The care with which he works out his subject is the touchstone which transforms a quiet scene into something broadly tender, beautiful in texture and tone” (Allen). Another described his still lifes as “lovely still-life arrangements of  flowers, arranged on pale colored clothes, preferably pinks and grey blues. The bouquets have the simplicity of statement that a child’s concept of a bouquet would have with the difference that his work is neither accidental or immature” (Brooklyn Daily Eagle 28 Jan. 1934: 12). He exhibited at the <a href="https://archive.org/details/newpicture00unse/page/n87" target="_blank" rel="noopener">New Gallery</a> (1923), Art Institute of Chicago, Carnegie Institute, Corcoran, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Salons of America, Society of Independent Artists, and the Whitney Museum of American Art. Hartl’s reputation usually was framed within the problematic concept of primitivism, like his contemporary Henri Rousseau; this was based upon his visual style but perhaps also due to his refreshingly down-to-earth view of painting. At a 1970 Teamsters Union show featuring the work of amateurs, the 81-year-old Hartl was quoted as saying “It’s very important for working people to develop a spiritual side” (New York Daily News 21 June 1970: 22). 4 works at <a href="http://collection.whitney.org/artist/571/L%C3%A9OnHartl" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="http://www.ashevilleart.org/artists/leonhartl/" target="_blank" rel="noopener">Asheville Art Museum</a>. 7 works at <a href="http://emuseumplus.unl.edu:8080/eMP/eMuseumPlus?service=ExternalSearch&module=collection&viewType=detailList&fulltext=Hartl" target="_blank" rel="noopener">Sheldon Museum of Art</a>. 1 work at <a href="http://www.phillipscollection.org/collection/browse-the-collection?id=0886" target="_blank" rel="noopener">The Phillips Collection</a>. His papers are at <a href="https://library.syr.edu/digital/guides/h/hartl_l.htm" target="_blank" rel="noopener">Syracuse University</a>. Source Consulted: Burt Allen, “'Personality’ is Slogan of French Artists Whose Work is Being Shown at Institute,” Minneapolis Star Tribune 30 Mar. 1924: 61. Identifier An unambiguous reference to the resource within a given context 080 Federal Art Project Leon Hartl New Deal Gallery painting still life