55 10 1323 https://openvalley.org/files/original/3850446d9050209e426d0076b8d717b2.jpg fb4a1db2078df36ab8559fed83342e89 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 Connected world mandala drawing Description An account of the resource Perhaps influenced by geocentric cosmologies, earth is divided in four quandrants: two on land (a prickly pear cactus and a fire), and two under water. Surrounding the planet are four nested spheres: a rainbow of multicultural colors, upon which stand interlinked figures holding hands; above them are figurations of sun, clouds, and wind in a blue sky; and finally a celestial sphere of planets, comets, and stars. Note: image quality is affected by shrink wrap enclosing the art work, due to its creator never returning to retrieve it. Creator An entity primarily responsible for making the resource Pacheco, Jabneel Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB Type The nature or genre of the resource Still image art Cosmology Creative Artists Migrant Program Services Geneseo Migrant Center Mandala https://openvalley.org/files/original/10c75b399c06d300e92236e38eefeec8.jpg 718d694c9da9fafed1b2cc43f248e9ae https://openvalley.org/files/original/0a5cae29363da0977d29cf2b921748e8.png 1cf721a1a86d304dbf796fd232b86512 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 Printed engraving 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 Old's Corn Planter Description An account of the resource Prior to the 1800s, corn was planted by hand in hillocks or rows. Industrial technologies profoundly affected agriculture with many patent machines like this horse-drawn planter designed by Calvin Olds. In a language typical for other devices of the time, the inventor promises to have "made it my untiring object by day and by night, by actual experiment and deep study, to bring it to its greatest perfection." This item contains two images, the second of which has been edited with clearer letters so as to better see the original schematic drawing that accompanied this description: "The above cut is a representation of my double corn planter, which plants two rows at once, and makes the rows both ways, to be drawn by a horse. Similar letters reter to similar parts—a represents the forward wheels, b the blank places on the hind wheels to show where the bills are, c the plough, d the coverer running with an angle of 45 degrees, replacing the carth thrown out by the plough, e the mitre gear of the dropping wheels, g the cups, with moveable bottoms to increase or diminish the quantity of seed at pleasure, h the boxes containing the seed, i the tube to convey the seed to the plough, k the slide or gate to regulate the depth of seed under the dropping wheel." Creator An entity primarily responsible for making the resource Packard, Cavit & Co. Publisher An entity responsible for making the resource available The Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1841 Contributor An entity responsible for making contributions to the resource Williams, Audrey Source A related resource from which the described resource is derived The Geneseee Farmer 12.2 (Feb. 1841): 184 <a href="https://archive.org/details/sim_genesee-farmer_1841-12_2_11/page/183/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 111 KB png, 687 KB Type The nature or genre of the resource Still image agricultural machinery Agriculture industrialization Machinery https://openvalley.org/files/original/6167ac25765b3ef9e01d9be2894e95ba.jpg b1da0a5664f6d8c984c402f7f187de44 https://openvalley.org/files/original/2bf945bc4afdbca6c2d42fdd3b8c5d27.jpg 6dfeb9bc178ab38a319e146e1611c9bd https://openvalley.org/files/original/8e33871174e5a6a76e0c761ccfc55f68.jpg 61177d6e5b6a4ce9db063e15018adec1 https://openvalley.org/files/original/42711c913597f95803ab90ebe6e3327c.pdf 0911fd4439cc791072c866812bafb703 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data PDF file 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 Honeoye Creek Wildlife Management Area Description An account of the resource This item consists of three images from a NY Department of Environmental Conservation (DEC) management plan for a 750-acre area located in Ontario County. Much of the land had been used for agricultural production, with resulting soil exhaustion, silting of the creek, and loss of biodiversity. A map outlining proposed actions for the next decade shows how an area currently appearing as "natural" has a complex environmental history. Some fields are left open to support wildflowers and pollinators; in other areas, the expansion of forests via seed harvesting is underway. Honeoye Creek Wildlife Management Area is one of several featured in the OpenValley story map "Deep Roots." Creator An entity primarily responsible for making the resource Palermo, Mike Bonk, Emily Mahoney, John Publisher An entity responsible for making the resource available New York Department of Environmental Conservation Date A point or period of time associated with an event in the lifecycle of the resource 2017-10-06 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="file:///Users/cooper/Desktop/yfihoncreekhmp.pdf" target="_blank" rel="noopener">Habitat Management Plan for Honeoye Creek Wildlife Management Area, 2017-2026; Division of Fish and Wildlife, Bureau of Wildlife, Department of Environmental Conservation (2017)</a> Format The file format, physical medium, or dimensions of the resource pdf, 3.2 MB Type The nature or genre of the resource Text conservation Honeoye Creek New York Department of Conservation https://openvalley.org/files/original/02564d04e98660599c23df9513a61b20.JPG 31a2f034200d122b38e52497f2c42694 https://openvalley.org/files/original/5eac157c7c4c32a948a2b59789537995.JPG 199409837075cef867ce5fa3adf800eb 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 Two Foxes Format The file format, physical medium, or dimensions of the resource jpeg, 883 KB jpeg, 14.8 MB Description An account of the resource Underneath the shelter of a large tree in winter, one fox rejoins what is likely its mate with a bird in hand—perhaps a grouse. Underneath the paws of the other fox appears to be a rabbit...a good day of hunting! Palmer’s somewhat implausible scenario is created in the service of closely observed details in physiognamy, texture, and posture. Perhaps most striking of all is the action, frozen in mid-gesture, where the foxes glare at viewers interrupting them. About the Artist: Born in Farmington, UT, Palmer grew up in an agricultural family yet was encouraged in his artistic pursuits. He entered Utah State Agricultural College in 1911 before leaving for New York to study at the Art Students League and then for two years with the muralist <a href="https://en.wikipedia.org/wiki/Edwin_Blashfield" target="_blank" rel="noopener">Edwin Blashfield</a>. Owing to this background he traveled to Spain and studied with <a href="https://en.wikipedia.org/wiki/Joaqu%C3%ADn_Sorolla" target="_blank" rel="noopener">Joaquín Sorolla y Bastida</a>. Palmer appears to have painted as-yet unidentified murals in New York. In 1918 he served at the US Navy’s Pelham Bay training station as a Seaman 2nd Class. Immediately after the war, he traveled to Spain as an agent of the Robert Fridenberg Gallery, New York, to purchase old engravings. While there he traveled to the Louvre and sketched extensively in Spain and North Africa. Palmer also financed his stay in Europe through illustrations for periodicals like <a href="https://babel.hathitrust.org/cgi/pt?id=iau.31858046260562;view=1up;seq=174" target="_blank" rel="noopener">Judge</a>, <a href="https://wws.elks.org/magazinescans/1922-08A.pdf" target="_blank" rel="noopener">The Elks Magazine</a>, Colliers, and <a href="https://babel.hathitrust.org/cgi/pt?id=uiug.30112074736619;view=1up;seq=402" target="_blank" rel="noopener">John Martin’s Book</a> for children, along with book commissions like <a href="https://archive.org/details/hiddenheroesofthe1923eng" target="_blank" rel="noopener">Hidden Heroes of the Rockies</a> (1923)—a collection of semi-historical tales set in and around his home state of Utah. In 1922 he married Beatrice Hunter and returned to Europe the following year, enacting a somewhat different itinerary than most artists: “Most everyone has covered the galleries of Europe, but few have paid as much attention to the exhibits in the various zoos along the way as I have. My sketchbooks are full of drawings made en route. The zoo at Antwerp had perhaps the most complete collection” (Green, “Utahns”). Throughout this period of commercial work, Palmer remained focused upon his goal of becoming “the greatest painter of animals in the world” (Greene, “Childhood”). Settling in New York, he spent years sketching animals at the Bronx Zoo; he traveled throughout North America toward the same ends. His animal paintings were exhibited at places like the National Academy of Design (1921), the Art Institute of Chicago (1926), and the Brooklyn Museum (1931). A collection of his works at the Sculptors Gallery (1922) was deemed “spontaneous and reveal[ing] a respect for the subtleties of animal anatomy” (New York Tribune 19 Feb. 1922: 52). An art critic for the New York Times wrote of a show at Leonard Clayton Gallery (1934) that “There could not be a more detached or colder environment” than a zoo in which to behold wild animals. Palmer nevertheless was able to convey their individuality, “every pose inconceivable as belonging to another...filled with the inherent dignity of their indifference to all humanity” (Cary). In 1940 Palmer was awarded a Guggenheim fellowship for “creative work in the graphic arts, in particular studies of wild and domesticated animals.” He served again in the military during World War II. 2 works in the <a href="https://www.nga.gov/collection/artist-info.5750.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://www.brooklynmuseum.org/opencollection/artists/857/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 work at the <a href="https://chrysler.emuseum.com/objects/8274/children?ctx=39d60a55-5fc4-4e5f-8d4d-dd39e9205453&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>.  1 work at <a href="http://utahdcc.force.com/public/PtlArtifactDetail?id=a0n70000001TuzSAAS&bcn=ptlartifacts&bcu=http%3A%2F%2Futahdcc.force.com%2Fpublic%2Fapex%2Fptlartifacts%3Fbcn%3DArtSearch%26bcu%3Dhttp%253A%252F%252Futahdcc.force.com%252Fpublic%252Fapex%252FPtlArtSearch%253FKeyword%253DArtist%2526searchTerm%253D%26field%3DartApp__Artist__c%26heading%3DHerman%2BPalmer%26ps%3D0%26value%3Da0j70000000CbMIAA0&ps=0" target="_blank" rel="noopener">State of Utah Art Collections</a>. Sources Consulted: Elsie Green, “Utahns in New York,” Salt Lake Telegram 21 Jan. 1923: 11; Elsie Greene, “Childhood Tales Aid Utah Artist” Salt Lake Telegram 27 Aug. 1922: 10; Elisabeth Luther Cary, “Our Artists Today See Animals as Individuals,” New York Times 1 July 1934: 132. Creator An entity primarily responsible for making the resource Palmer, (George) Herman, 1894-1946 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 #FA18229 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 136 Federal Art Project Herman Palmer New Deal Gallery painting Sporting Art https://openvalley.org/files/original/dd1823ed901ca4df9e2df5e682f093cf.jpg d26c72a45f4287a040771ce88fbc73dd 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 29.5 x 23.5 in. Condition: surface dirt, dented, pitted, torn 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 Fall Still Life Format The file format, physical medium, or dimensions of the resource jpeg, 955 KB Description An account of the resource Two adjacent types of painting—still life and domestic “genre”—blur in this creatively arranged scene. At right, staples of the still life tradition like fruits, flowers, and drapery are displayed on a table. Yet there also is a child’s toy, and it seems the backdrop might be a blanket of some sort, trailing leftward to a radiator in the background. The domesticity and likely children implied by the toy is indicated by a sofa at left and wallpaper peeking out from behind the blanket; it’s an effective rendering of a woman artist working with her materials at hand. About the Artist: We haven’t located much reliable information about this artist. Palter graduated from Girls Commercial High School, Brooklyn, in 1929. Her paintings were exhibited in a 1938 FAP show in Flushing, NY along with NDG artist Henry Kallem. She married the abstract painter <a href="https://americanart.si.edu/artist/albert-swinden-4724" target="_blank" rel="noopener">Albert Swinden</a>—also a <a href="https://livingnewdeal.org/artists/albert-swinden/" target="_blank" rel="noopener">Federal Art Project artist</a>—and their daughter Alice Swinden Carter went on to become a sculptor in her own right. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-44" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Palter, Rebecca, 1912-1998 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18230 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 136 Federal Art Project New Deal Gallery painting Rebecca Palter still life https://openvalley.org/files/original/ce01dbff627a52ae5ac5b5004ab74cd1.JPG a1c65c056fd13f09c602dfa890650fb8 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 11.5 x 16.5 in. 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 Flowers and Fruit Format The file format, physical medium, or dimensions of the resource jpeg, 696 KB Description An account of the resource Some elements of this watercolor are abstract and patterned: the green leaves at left, the tablecloth, wallpaper background, and even the vase’s outline. Other elements, however, show careful attention to modeling and texture, like the orange. Palter seems to be allotting differing levels of detail in this extemporaneous composition: she retains her pencilled outlines and at times uses broad strokes; in certain places her attention focuses to verisimilitude. About the Artist: We haven’t located much reliable information about this artist. Palter graduated from Girls Commercial High School, Brooklyn, in 1929. Her paintings were exhibited in a 1938 FAP show in Flushing, NY along with NDG artist Henry Kallem. She married the abstract painter <a href="https://americanart.si.edu/artist/albert-swinden-4724">Albert Swinden</a>—also a <a href="https://livingnewdeal.org/artists/albert-swinden/">Federal Art Project artist</a>—and their daughter Alice Swinden Carter went on to become a sculptor in her own right. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-44">FAP</a>. Creator An entity primarily responsible for making the resource Palter, Rebecca, 1912-1998 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 #FA23837 Federal Art Project New Deal Gallery painting Rebecca Palter still life Watercolor https://openvalley.org/files/original/da22cf28489c06a413605def2b4d785b.jpg 2fb91ded242ba9b8434ec86f5352dc93 https://openvalley.org/files/original/d8331c9e1c9dc3aa28f291eb54200701.JPG 63bc457bb04b3019cbf1aebfebed4d0e 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 17.25 x 21.5 in. Condition: cracked paint, slightly pitted 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 Paper Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 876 KB jpeg, 11.4 MB Description An account of the resource The pleasing daisies in a vase at center may give this painting its name, so artfully have they been created and arranged. If so, their status as humble field flowers plays against the ornate, patterned background and checkerboard table. Beautifully harmonized colors create a self-enclosed space. Another interpretation of Pandolfini’s title might observe that everything here is a sort of Trompe-l'œil with painted surfaces. About the Artist: Born in Palermo, Italy, Pandolfini immigrated to the US in 1912 and worked as an engraver in his father’s jewelry shop. Along with NDG artist James Guy, Pandolfini was among the leadership of the Unemployed Artists Group of the John Reed Club—later to become the <a href="https://en.wikipedia.org/wiki/Artists_Union" target="_blank" rel="noopener">Artists Union</a>.  His work was exhibited in places like the Corcoran Gallery (1934); the Museum of Modern Art (1936, 1938); the Pennsylvania State Museum (1939). Underneath his NDG still life painting is a body of work directly grappling with the economic injustice of his times, as a few titles will attest: “Unemployed” (1932-37); “The Pay Line” (1938); “Night Will Fall and the Homeless Shall Be Without Shelter” (1937); and “Strafing Maneuvers” (1941). He taught painting at the Brooklyn Museum. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-1" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pandolfini, Joseph Paul, 1906-1987 Publisher An entity responsible for making the resource available Federal Art Project1937 Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-27 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 #FA18228 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 135 Federal Art Project Joseph Pandolfini New Deal Gallery painting still life https://openvalley.org/files/original/c62da4e54f0b7d267e5626fed33436ce.jpg 986a55b1b3626cec57d61b559927954f Hyperlink A link, or reference, to another resource on the Internet. URL <a href="http://www.parkeharrison.com/architect-s-brother/burn-season/388/2">URL</a> 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 Reclamation Description An account of the resource An environmentally surreal scene, depicting two men in formal clothing, pulling artificial grass over barren land. Creator An entity primarily responsible for making the resource ParkeHarrison, Robert ParkeHarrison, Shana Contributor An entity responsible for making contributions to the resource Caldwell, Julia (description) Source A related resource from which the described resource is derived <a href="https://www.npr.org/sections/pictureshow/2011/04/04/134925211/surreal-scenes-make-big-environmental-statements" target="_blank" rel="noopener">https://www.npr.org/sections/pictureshow/2011/04/04/134925211/surreal-scenes-make-big-environmental-statements</a> Date A point or period of time associated with an event in the lifecycle of the resource Unknown Format The file format, physical medium, or dimensions of the resource 112.1 KB Type The nature or genre of the resource Hyperlink https://openvalley.org/files/original/1b36296bc657376a25481574f4cbc515.jpg 9c4683b5a6c7012828f2351a1c45ab74 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 Portrait of H.D. Thoreau (1861) Description An account of the resource A portrait of Henry David Thoreau, taken in 1861. Creator An entity primarily responsible for making the resource Parlow, Geo., F. Publisher An entity responsible for making the resource available Library of Congress Date A point or period of time associated with an event in the lifecycle of the resource 1861 Contributor An entity responsible for making contributions to the resource Noel, Ricky Source A related resource from which the described resource is derived Library of Congress Format The file format, physical medium, or dimensions of the resource jpeg, 0.6 MB Type The nature or genre of the resource Image https://openvalley.org/files/original/1854e2d46b7c2b116215003584dee2bb.jpg d9aab48afe437f7a6777c942e6b1d78e https://openvalley.org/files/original/cf123b955e857226ce2918c502a7b9fd.jpg a7c6e3d0a4f284c6cd396c51be582619 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5.5 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 Virginia Canyon Highway, Colorado Description An account of the resource Unofficially known as the "Oh My God" Road, this winding route was created to service silver mines, some of which are visible in the postcard view. It's of interest because this location probably was the basis for New Deal Gallery artist Philip Cheney's painting <a href="https://openvalley.org/items/show/1098" target="_blank" rel="noopener">Rocky Mountain Highway</a>--which probably overstates the amenites of this track without guardrails or other amenities. Creator An entity primarily responsible for making the resource Patterson, C. C. Publisher An entity responsible for making the resource available Patterson Distributing Co. H.S. Crocker Co. Date A point or period of time associated with an event in the lifecycle of the resource 1940-1960 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 852 KB jpeg, 399 KB Type The nature or genre of the resource Still image Mining Philip Cheney Post Card