54 10 1323 https://openvalley.org/files/original/3a0a9c1a12710225725d55baa540f828.jpg 7878770b1ae3c8e766f595753f876fdb https://openvalley.org/files/original/dd68c59dc80bb5ebc81dab21d0f10fb4.jpg 3e221e642c96d2407e95dd76b24eaacc 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 Digital image 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 Le Ranz des Vaches Format The file format, physical medium, or dimensions of the resource jpeg, 190 KB jpeg, 151 KB Description An account of the resource This excerpt of a Swiss song appeared in a medical study on the phenomenon of nostalgia, usually glossed in English as "homesickness." A researcher named Johannes Hofer had coined the term in his 1688 dissertation, observing that Swiss mercenary troops sometimes fell ill during extended absences from their homeland. Here, Theodore Zwinger in 1710 extends the insight to a folk cowherding tune--Kühe-Reyen--played on an alpenhorn or sung. The power of that music alone was so evocative that it it evoked palpable longing and ennui for the familiar meadows. Publisher An entity responsible for making the resource available Zwinger, Theodore Date A point or period of time associated with an event in the lifecycle of the resource 1710 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://commons.wikimedia.org/wiki/File:Le_Ranz_des_Vaches_de_Zwinger.png" target="_blank" rel="noopener">Wikimedia Commons</a> Type The nature or genre of the resource Still image Music Nostalgia Solastalgia Switzerland https://openvalley.org/files/original/debca70344efd902dca22aa6aa71ffbb.jpg e1e16398e438eb125da32eea5438a0e1 https://openvalley.org/files/original/eee809af0ba33f22234be649bcf99314.JPG 34b8c97715b60b650feb038dc7a7c519 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 19.5 x 23.5 in. Painting condition: paper buckled 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 High in the Tree Tops Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.2 MB Description An account of the resource We’re asked to adopt a perspective almost never accessible to humans: near the top of a tree, at close proximity to parrots. A light wash of cloudy white and blue in the background encloses the birds; their distinctive colors echo those of the tree’s leaftips and berries. An earlier New Deal Gallery inventory speculates that this is a rubber tree, and it does appear to be a Ficus of some variety. Patterson’s watercolor bears resemblance in its design to his <a href="https://openvalley.org/items/show/1216">Orioles</a>: a simplified canopy to better frame the birds, an emphasis upon their bright colors, and a use of foreshortening to bunch several birds closer together. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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 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 #FA18378 Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/71553f02079deb4726816ca34258fd82.jpg fe7ef8c3f353380545e2e6f9ae9d65e7 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 Gouache painting Physical Dimensions The actual physical size of the original image 14.5 x 20 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Gift Description An account of the resource Four children encounter each other upon a path in Central Park, the city skyline silhouetted against a colorful sky. Two older—and, judging from their clothing, apparently wealthier—children accept a flower offered by a young girl holding a larger bunch in her arms. Her own socioeconomic status is not clear; rather, Myers offers a parable of “natural” generosity in humans before social inculcation. At left is a figure resembling a statue of St. Francis, or simply an adult standing in a field. About the Artist: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener">Jerome Myers Memorial Exhibition 3</a>). Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Myers, Jerome, 1867-1940 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 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 #FA18214 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Federal Art Project Gouache Jerome Myers New Deal Gallery https://openvalley.org/files/original/933bdfb9ca1b33dca4659811a3a51cb5.jpg bad6cdbb8f0789e9d00e76c1667037bf https://openvalley.org/files/original/4fdc3cea2119d8b3bad225fd19f379ed.JPG ad3a442c0d5ebbc6bf7e36c58b2d3633 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 Condition: dented, surface dirt, paint flaked 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 Lilies and Shell Description An account of the resource It’s possible that the flowers depicted in this still life are wild mountain lilies (Lilium auratum), also called the golden-rayed lily of Japan. Whatever the case, flowers’ size and colorful radials draw our attention inward—which is similar in effect to a conch shell pictured on the same table. Warm peach colors are played against complementary greens and blues. About the Artist: Born in Syracuse, NY, Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA Morning Call 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909th Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/">“After the Hike”</a>—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (Syracuse Herald-Journal 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Philips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (Muhlenberg Weekly 14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at <a href="https://americanart.si.edu/artist/harold-bowler-536">Smithsonian American Art Museum</a>. 3 works at <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/">Michener Art Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19">FAP</a>. Creator An entity primarily responsible for making the resource Bowler, Harold T., 1903-1965 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) Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 4.1 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18119 Type The nature or genre of the resource Still image Federal Art Project Harold Bowler New Deal Gallery still life https://openvalley.org/files/original/7108f4dab699061472abcf396b515010.jpg 3d54494fd1657cd87c230b060e3590f3 https://openvalley.org/files/original/ea38f1540705bf7b55bd1d7a2b4be2bc.jpg bbb642c6ffb590db4ae4ba9e416d88bf 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 60 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 the Town of Concord, Middlesex County Mass. Format The file format, physical medium, or dimensions of the resource jpeg, 851 KB jpeg, 3.9 MB Creator An entity primarily responsible for making the resource Walling, Henry Francis, 1825-1888 Publisher An entity responsible for making the resource available H. F. Walling Date A point or period of time associated with an event in the lifecycle of the resource 1852 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="http://hdl.loc.gov/loc.gmd/g3764c.ct001110" target="_blank" rel="noopener">Library of Congress</a> Description An account of the resource A great deal of historical interest attaches to this map. It shows the residences of important figures in the Transcendentalist movement: Ralph Waldo Emerson, William Ellery Channing, and Henry David Thoreau--whether living at Walden Pond or at his father John's home. Thoreau's work as a surveyor contributes materially to Walling's map in the form of White Pond and Walden Pond. By convention Thoreau's two-year sojourn at Walden Pond is thought to have been in the "wilderness," by his own description, but we see here that he was located less than two miles from the Concord town pump, and midway between a turnpike and the Fitchburg Railroad. A detail from Walling's larger map shows the approximate location of Thoreau's cabin. Type The nature or genre of the resource Still image Concord, MA Henry David Thoreau Map Walden Pond https://openvalley.org/files/original/9ddee84d60ada84353247bc92f688ad8.jpg e19fdb87d3668cadd998fc6c9bf31ba3 https://openvalley.org/files/original/e8a9642a47b78b7dd347849e02928c1f.jpg 6bd2231d6e4ea464cc56504525e9e07b 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 39 x 9 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Map of the Central Park Showing the Progress of the Work up to January 1st, 1860. Description An account of the resource In 1853 after extensive study, the New York City Common Council approved a site surrounding the Croton Reservoir for a Manhattan park. Landscape architect Frederick Law Olmsted and designer Calvert Vaux were winners of a design competition, and in 1857 work began upon the original 778-acre site (it would grow to 843 acres). This rare map was disseminated only through park's Board of Commissioners annual report, and to key players in the construction process--in this case, board member Andrew Haswell Green. It shows that almost all early work was concentrated upon the park's southern portion, and the extent to which its "natural" appearance was constructed. Significant rock outcroppings that remained from the Lawrentide Ice Sheet are marked by Olmsted--a fundamental driver of his design. Central Park was officially completed in 1876. Creator An entity primarily responsible for making the resource Olmsted, Frederick Law Olmsted, 1822 - 1903 Publisher An entity responsible for making the resource available Board of Commissioners of the Central Park Date A point or period of time associated with an event in the lifecycle of the resource 1860 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://commons.wikimedia.org/wiki/File:1860_Pocket_Map_of_Central_Park,_New_York_City_-_Geographicus_-_CentralPark-olmstead-1860.jpg" target="_blank" rel="noopener">Geographicus Fine Antique Maps, via Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 466 KB jpeg, 2 MB Type The nature or genre of the resource Still image Calvert Vaux Central Park Frederick Law Olmsted Map new york city park https://openvalley.org/files/original/8a362dd87d24b025d47c187d7c950608.jpg 8aa90c4e40acea10baa611da6b001b5c https://openvalley.org/files/original/72fe846c9e00f66b65417619956f004a.jpg 456bf9a5e313446c3bcc9a5d30d108c0 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph of oil painting Physical Dimensions The actual physical size of the original image 8 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Orchard Format The file format, physical medium, or dimensions of the resource jpeg, 640 KB Description An account of the resource The title of this painting is paradoxical, since none of the trees depicted appear to be the fruiting varieties usually associated with commercial orchards. Nor is it entitled "Arboretum," a collection of species under a landscaping rubric. Instead, Aberathy asks us to think about the relation between humans—represented in the two figures at lower right—and the fecundity of nature beyond our own definitions. About the Artist: Abernathy, Inez. (1873-1956) Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and the<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> Florida Female College</a>. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1939-06-12 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 1, Folder 4.</a> Federal Art Project Green New Deal Inez Abernathy https://openvalley.org/files/original/2d8a07273e99b377fee1a5dbdad92fb1.jpg 796a9d67be37e9b1990816b33a4a1b12 https://openvalley.org/files/original/37e47a9bb6a1a4d0d4b8531cd8bd2fc3.jpg faae6083239e417aa689a9a948cb1ed0 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 Stereoview Physical Dimensions The actual physical size of the original image 7 x 3.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bow Bridge, Central Park Format The file format, physical medium, or dimensions of the resource jpeg, 432 KB jpeg, 735 KB Contributor An entity responsible for making contributions to the resource Cooper, Ken Description An account of the resource Designed by Calvert Vaux and Jacob Wrey Mould, and completed in 1862, this 87-foot span was the second cast-iron bridge constructed in the US. Its likeness to the bow of a violinist or archer gave the structure its name. Stereoview taken probably not long after its construction shows recent tree plantings. Creator An entity primarily responsible for making the resource Chase, W[illiam] M[oody], 1817-1901 Date A point or period of time associated with an event in the lifecycle of the resource 1870-1890 Source A related resource from which the described resource is derived The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Bow Bridge." The New York Public Library Digital Collections. 1850 - 1930. <a href="https://digitalcollections.nypl.org/items/510d47e1-ee44-a3d9-e040-e00a18064a99" target="_blank" rel="noopener">http://digitalcollections.nypl.org/items/510d47e1-ee44-a3d9-e040-e00a18064a99</a> Type The nature or genre of the resource Still image Bow Bridge, Central Park Bridge Central Park New York Stereoview https://openvalley.org/files/original/bdf376535bd25f8eeab431cd97491f4b.jpg fd84b6f7afea9557c426b0a1f2c664ff 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 Hoover Dam https://openvalley.org/files/original/d80e0e9175825396769c65ebceacd8b3.jpg ccb645794f1b7be7095bc63388b69355 https://openvalley.org/files/original/00ff084920119be3fe7bb75f4cedb636.jpg 71cb88c2a2ad04fe3c8a08d5d0d75ac8 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 Physical Dimensions The actual physical size of the original image 5 x 7 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bow Bridge, Central Park Description An account of the resource Photograph of iconic cast iron bridge in New York's Central Park was one of six created for an historical survey in 1984. The description reads: "Designed by Calvert Vaux, the Bow Bridge is one of the most prominently located and visible cast iron bridges in Central Park. It is 87 feet, four inches long. This and other cast iron bridges in Central Park are among the very first built of that material in America. The J.B. and W.W. Cornell Foundry was the contractor. Restored in 1974 with funds provided by Lila A. Wallace and Lucy G. Moses, this graceful arch has been described by New York Times architecture critic Paul Goldberger as seeming 'to pour over the water.'" It is included in OpenValley because this view looking east is very similar to New Deal Gallery artist Inez Abernathy's <a href="https://openvalley.org/items/show/1108" target="_blank" rel="noopener">"The Lake, Central Park"</a> with the Hotel Carlyle visible in the distance. This item consists of a slightly cropped version and the original proportions. Creator An entity primarily responsible for making the resource Lowe, Jet (photographer) Chamberlain, Holly K. (historian) Publisher An entity responsible for making the resource available Historic American Engineering Record Date A point or period of time associated with an event in the lifecycle of the resource 1984 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="Library%20of Congress, <www.loc.gov/item/ny1587/>" target="_blank" rel="noopener">Library of Congress, <www.loc.gov/item/ny1587/></a> Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 2.7 MB Type The nature or genre of the resource Still image Bow Bridge, Central Park Central Park Hotel Carlyle Inez Abernathy new york city Photo