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              <text>Bird's eye view</text>
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              <text>41 x 75 cm</text>
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                <text>Le Roy, NY, 1892</text>
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                <text>Burleigh Litho</text>
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                <text>Burleigh Litho</text>
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                <text>Cooper, Ken</text>
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                <text>Library of Congress Geography and Map Division &lt;a href="http://hdl.loc.gov/loc.gmd/g3804l.pm005800"&gt;http://hdl.loc.gov/loc.gmd/g3804l.pm005800&lt;/a&gt;</text>
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                <text>Looking roughly to the east, bird's eye view shows Oatka Creek winding through town of 5,000 as of 1890--the second largest in Genesee County after Batavia. First settled in 1793, Le Roy was created in 1812 from a portion of the Caledonia land purchase; the two communities have continued to share a number of economic and familial ties.&#13;
&#13;
The large number of numbered points in this relatively small town speaks to its civic spirit, an effective Burleigh sales agent, or both. Several lawyers and patent medicine manufacturers are listed as "places"; two railroads not even on the map paid the toll to be listed, as well. At this time, however, the most important player was the Le Roy Salt Works, point number fourteen located at upper left.</text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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                <text>Leeds Bridge</text>
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                <text>&lt;p&gt;Portions of the stone bridge depicted here date to 1760, when a wooden structure over Catskill Creek (in Greene County) collapsed; the rest was completed in 1792 and remains standing today. Lomoff renders virtually no straight lines in his painting, whose natural features all appear to be in gently waving motion—arguably including the bridge itself. Foliage grows on the structure, its stones are the same color as those in the river bed, and its arches subtly echo those of trees and mountains in the distance. Still waters create a reflection whose effect is to create a pair of portals through to some other side.&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;About the Artist&lt;/span&gt;: Born in Sevastpool, Russia, Lomoff traveled to the US in 1912 and immigrated for good in 1925, where he found employment as (among other jobs) a sign painter. His Futurist-influenced works like “Mystery” and “Legend of Atlantis” began to appear in group shows by the late 1920s. Lomoff’s exhibited numerous times with the Society of Independent Artists between the mid-1920s and early 1940s. In 1934, as part of the Public Works of Art Project, he painted a mural titled “Nursery Tales” in the Children’s Hopital on Charity Island (now named Roosevelt Island). A visitor noted that “Upon a single panel you will often find as many as three or four artists working at the same time in a spirit of unimpeachable cooperation...the old guild idea, adapted to modern usage” (Jewell). In 1937, amidst Congressional cuts to the Federal Arts Project, he was among those painters &amp;nbsp;showing at a “Pink Slip Exhibition” in New York City. Subsequently, “Toilers of the Sea” appeared at the Brooklyn Museum (1943), and he was part of an innovative 1946 exhibit at Loew’s Mayfair Theatre in Times Square—which had been organized following Thomas Hart Benton’s statement that art should be in public places and not “buried in mausoleum-like art galleries.” A 1971 retrospective of his painting might well describe his NDG landscape: “The mystic element became strong, rocks and hills taking on human form, until each animistic landscape was alive with the impress of dark figures” (O’Doherty). 10 works at the &lt;a href="https://www.brooklynmuseum.org/opencollection/artists/4052/objects" target="_blank" rel="noopener"&gt;Brooklyn Museum&lt;/a&gt;. 3 more images at &lt;a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-19" target="_blank" rel="noopener"&gt;FAP&lt;/a&gt;.&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;Sources Consulted&lt;/span&gt;: Edward Alden Jewell, “The Waxing Mural Tide,” &lt;em&gt;New York Times &lt;/em&gt;19 August 1934: 133; Brian O’Doherty, “Dual Show at Riverside Museum,” &lt;em&gt;New York Times &lt;/em&gt;7 June 1961: 45.&lt;/p&gt;</text>
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                <text>Lomoff, Joseph, 1899-1956</text>
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                <text>1935-1940</text>
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                <text>Ritz, Abigail (photography) &lt;br /&gt;&lt;br /&gt;Cooper, Ken (biography)</text>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts &lt;br /&gt;&lt;br /&gt;Object #FA18199</text>
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                <text>106</text>
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        <name>Joseph Lomoff</name>
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                  <text>Caledonia 1892</text>
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                  <text>This collection of images is based upon &lt;a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener"&gt;an 1892 birds-eye panorama of Caledonia, NY&lt;/a&gt; published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. &lt;br /&gt;&lt;br /&gt;The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.”</text>
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                  <text>Cooper, Ken</text>
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                  <text>Thanks to Tom Tryniski, Fulton History</text>
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      <name>Still Image</name>
      <description>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.</description>
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          <name>Original Format</name>
          <description>The type of object, such as photograph, map, drawing, painting, etc., and any additional data</description>
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              <text>Newspaper advertisements</text>
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                <text>Lehigh Valley Rail Road Station, Caledonia</text>
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                <text>Number 7 on the Burleigh map, an original modest structure served the needs of a railroad built primarily to deliver coal from the Pennsylvania anthracite fields, east to New York and west to Buffalo on the Great Lakes. Amidst ferocious competition, however, the relatively small line came to depend upon moving western wheat and, eventually, passengers. Accordingly, in 1891, an “ornate station with its stained glass windows and Gothic scroll work was built by immigrant laborers” (Caledonia Advertiser 16 Mar 1972).&#13;
&#13;
Beginning in 1896, the Lehigh railroad became known for its luxurious "Black Flag Express" service between Buffalo and New York: a "combined cafe, library, writing and smoking room for gentlemen"; a "ladies retiring room"; a dining car and plate-glass observation windows "to view the rapidly passing scenery" (Caledonia Advertiser 2 April 1896).  For passenger service the Lehigh's heyday was the first quarter of the 20th century, after which it began a gradual decline due to competition from automobiles. The station was demolished in 1972.&#13;
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                <text>1. Caledonia Era&#13;
2. Caledonia Advertiser</text>
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                <text>1. 1911-07-05&#13;
2. 1893-08-31&#13;
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                <text>Cooper, Ken</text>
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                <text>1-2. Courtesy of Tom Tryniski / Fulton History&#13;
3. Courtesy of Wikipedia</text>
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Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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Special thanks to Roland Beck, General Park Manager for New York State Parks Genesee Region for making this video possible.&#13;
&#13;
Equipment Used:&#13;
DJI Phantom 3 Professional: https://goo.gl/geUXUR&#13;
Official DJI Battery: https://goo.gl/Z3EHt7&#13;
Knock-off Batteries: https://goo.gl/ukG8SD&#13;
Gradient Filters: https://goo.gl/fjfl4M&#13;
ND16/Polarizer: https://goo.gl/jQtIwS&#13;
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Music: Pacific Hike by Silent Partner &amp; Eureka by Huma Huma.&#13;
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© Odyssey Visual Media, 2016.</text>
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