55 10 1323 https://openvalley.org/files/original/fd8a93d5dda0772167294c41e98b0509.JPG 9eae49a997412772865244ce596c1e39 https://openvalley.org/files/original/04ab2b7b6687e48d94cad30ef8327cfb.JPG 70c2b51be01ca62ebb1ff101da9fb2e6 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 Harbor Creator An entity primarily responsible for making the resource Kaufman, Edwin, 1906-1939 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 #FA18190 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 14.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 097 Description An account of the resource At least a third of this painting is dominated by a harbor, whose representation of waves resemble the letter "U" and whose boats are the simplest of icons. To characterize the scene as childlike, however, overlooks the skillful pattern-making applied to trees in the foreground and background. Kaufman creates a bounded world whose simplicity is deceptive; he strips away realist techniques while retaining their representational ends. About the Artist: Born in Cleveland, Kaufman began his art studies at an early age culminating with formal training at the Cleveland School of Art, where he studied with Harry Keller. One of his oil paintings won him the Agnes Gund European Traveling Scholarship; he spent a year there painting and studying under several artists: <a href="https://en.wikipedia.org/wiki/Hans_Hofmann" target="_blank" rel="noopener">Hans Hofmann</a>, <a href="https://translate.google.com/translate?hl=en&sl=fr&u=https://fr.wikipedia.org/wiki/Henry_de_Waroquier&prev=search" target="_blank" rel="noopener">Henry De Waroquier</a>, <a href="https://en.wikipedia.org/wiki/Othon_Friesz" target="_blank" rel="noopener">Othon Friesz</a> , and <a href="https://case.edu/ech/articles/w/warshawsky-abel-and-alexander" target="_blank" rel="noopener">Abel G. Warshawsky</a>. Kaufman seems to have been able to support himself through his work, in part because his primary medium was etching seriographs, in part because he was an effective agent for his own work. He died tragically, along with his wife and two-year old son, when a bridge they were crossing in Pennsylvania collapsed under the weight of a freight truck. As Henry Adams writes, “Kaufman’s best work is a curious blend of the 19th century picturesque, the social realism of the Ashcan School, and the bold patternmaking of the modernists he associated with in the thirties, such as [Louis] Lozowick....It’s intriguing and somewhat eerie to have his work resurface seventy-five years after his death; and a reminder that we should honor not only those who achieved great things, but those whose early promise was cut short.” 28 works at <a href="http://www.clevelandart.org/art/collection/search?collection_search_query=edwin+kaufman&op=search&form_build_id=form-15PFTp2baERGNHrnKO0CfVQdqVUy5plUcejHtrvSUJ8&form_id=clevelandart_collection_search_form" target="_blank" rel="noopener">Cleveland Museum of Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-26" target="_blank" rel="noopener">FAP</a>. Edwin Kaufman Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/c4044ed4950e00c36b13c56981a9ec5d.jpg 439af2561fc6182f58728929351df7ae https://openvalley.org/files/original/c0a5c01dd1c9a06086fd5185adf42f9f.jpg cab42ba4757ce5c96c368b12824f1346 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 Long Island Landscape after a Shower of Rain (After the Shower) Creator An entity primarily responsible for making the resource Chase, William Merritt, 1849-1916 Date A point or period of time associated with an event in the lifecycle of the resource 1885-1889 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Indianapolis Museum of Art, via Wikimedia Commons https://openvalley.org/files/original/78fccaa30e578257c28bc180b9f110c6.jpg bd1839af4d8ec0bebc7e1d3d8cf7c5ae https://openvalley.org/files/original/a0d91b49f193809066676b19e7a17488.JPG 498ad97ed113a60a6048f514fc127b62 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 19.5 x 23.5 in. Condition: surface dirt, flaking, chipped 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 Marigold Description An account of the resource A vase of flowers is built upon four colors—yellow, orange, green, and blue—along with well-chosen accents and whites. De-differentiating marigolds into puffs of color is complemented by Kerrwood’s flattened space; slight variations of texture on the wall and table push back against formal abstraction. A Grecian vase, the painting’s only modeled object, stands distinct among color fields. About the Artist: We haven’t located any reliable information about this artist. He may have lived in the Saratoga Springs area. Creator An entity primarily responsible for making the resource Kerrwood, Arthur Lewis, 1891-1964 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 #FA18191 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 16.7 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 098 Arthur Kerrwood Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/e9e381c44b2655a901e7066aad313446.jpg 09319d10ead2e16249fd4d1f31d26bac https://openvalley.org/files/original/f2d32b8c8debbbcc5e42ad3b0e691412.JPG 5c784fdd18020a0b34bea7a14d6f85e4 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: slightly stained, peeled in left & right lower corners 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 Old Stone House Description An account of the resource A clearing in forested land, receding toward the painting’s center, draw our attention to a stone house. But it seems to have at least one and possibly two additions to its original structure; along with the farm outbuildings, road and bridge, and the cleared land itself, a passage of time is encoded into the landscape. In muted tones under a clear sky, massy and subtly rounded shapes lend a sculptural quality to the painting. About the Artist: Born in Brooklyn, NY Lane spent much of his young life in Europe studying art—Bonn, Munich, Vienna, Paris—before returning home in 1928. His wife, the former Erna Schurtz, was a dancer in the Isadora Duncan school. Land exhibited in the Ferargil Galleries (1931)—where his portraits were praised for solving the problem of definite physical presentment and of intangible traits of character and personality most successfully” (New York Evening Post 26 Dec. 1931: 3)—the 1939 World’s Fair, and the Bonestall Galleries (1940). He painted three murals for the Port Washington, NY post office in 1937 (“Lighthouse,” “Sailing,” and “Landscape”); another entitled <a href="https://livingnewdeal.org/artists/harry-s-lane/" target="_blank" rel="noopener">“Air Express”</a> ended up in Oakdale, LA. In 1949 Lane moved to the Berkshires permanently, continuing to exhibit and share his knowledge with artists in the community. 1 work at the <a href="https://www.metmuseum.org/art/collection/search#!?q=%22harry%20lane%22&perPage=20&sortBy=Relevance&sortOrder=asc&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="http://vps343.pairvps.com:8080/emuseum/view/people/asitem/items@null:6473/0?t:state:flow=e4db09e1-f448-47c1-9dd7-41131e9a703f" target="_blank" rel="noopener">Worcester Art Museum</a>. 1 work at <a href="https://americanart.si.edu/artist/harry-lane-2787" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Lane, Harry S[chaeffer], 1891-1973 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 1935-1940 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18193 Format The file format, physical medium, or dimensions of the resource jpeg, 838 KB jpeg, 14.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 100 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Federal Art Project Harry S. Lane New Deal Gallery painting https://openvalley.org/files/original/ae8478786f1f24c2b5082e23a21da6d7.jpg b75654895a07aff5e60d6691800e5ab4 https://openvalley.org/files/original/d7832d7f153165df9020db14c7984cd5.JPG f8de33647932fd7f5b3d77ba89f3ef89 https://openvalley.org/files/original/eb1b5942bf2074dc260ba42bc02e12d9.jpg 6144c5b353654d3a3f1abdb76ab62bdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: cracked paint, 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 Chinese Lantern Description An account of the resource An arrangement of dried stalks in a ceramic urn creates this dazzling play of colors and light. Its setting is a wooden table, Navaho-patterned weaving, and earth-colored walls; along with the bright light passing in through a curtain at left, the effect is one of the American southwest, whether the still life was painted there or not. The painting’s otherwise haphazard lines draw our eyes to one particular globe and its shadow at top center. About the Artist: Born in Elizabeth, NJ, to German parents Lange attended school abroad before returning in 1916 to study art at the Cooper Union, the Art Students League, and the National Academy of Design. In 1923 Lange was the focus of a major controversy: her painting “Lament” was chosen by the Chaloner Foundation for a prize that allowed five years’ travel and study in Europe; newspapers announced that the “Girl Painter Wins $6,000 Prize Over Three Male Competitors.” Then an anonymous tip observed the close similarity between Lange’s painting and English artist James Williams’ work “The Lament,” published seven years previous. The award was revoked, although many observers were sympathetic to the process of unconscious assimilation—why would Lange have titled the painting as such if she had sought to hide anything? (“Tragic Likeness”). The Foundation’s underwriter also was supportive, and decided to grant her a trip in 1924, yet as Lange reported Chaloner “advised me to plead guilty. I therefore do so. I am very, very sorry, and I have suffered severely. I therefore ask the public to please try to forget the past and look at my work in Paris during the next five years as the proof of my sincere devotion to Art” (“Confession”). Given this potentially devastating episode, it’s remarkable how Lange persisted on to study (at the Academies Colarossi, Grand Chaumiere, Julian, and Billoul in Paris) and to produce vivid art. She became best known for her paintings of the American Southwest, having first traveled to Arizona in 1930. A 1931 solo show at the Argent Galleries suggested that “Erna Lange has taken much color and the drama and woven it into pictures, which add greatly to the artistic production of the country. Her clear vision and skillful handling of the medium equip her to record ably and with unusual understanding the moods of this one section of America wherein natural forces can still play a part in the lives of the people without disturbing their peace of mind.” Lange exhibited works in the 1936 and 1937 Woodstock WPA Expositions, and records indicate that her 1936 painting, “Winter Landscape,” was allocated to the NYS Board of Health. Lange moved near Phoenix permanently in 1940, where she opened her own gallery and taught painting. Almost all of Lange’s paintings are privately held, rather than displayed in museums. Sources Consulted: “Girl Painter Wins $6,000 Prize Over Three Male Competitors” (Baltimore Sun 9 July 1923: 2); (“Tragic Likeness of Her Picture to Another’s,” San Francisco Chronicle 23 Sept. 1923: 6); “Confession,” Time 9 June 1924. Creator An entity primarily responsible for making the resource Lange, Erna, 1896-1984 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 1936-01-02 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 #FA18194 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 16 MB jpeg, 521 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 101 Erna Lange Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/f7be2c7b100c64f5b1582a81eb54d95f.jpg ec55edc45b5ea715ddaafd7ac78f6e15 https://openvalley.org/files/original/c3b2c0409bb0d70d7ba0209dbc94cc3e.JPG 1434d3a562c1f28b3c17b9b862c97ca6 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: tack mark in vase, 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 Flower Study Description An account of the resource This composition occupies a sort of uncanny valley in painting: its vase and flowers use one regime of three-dimensionality; its plant stand uses a different regime, or perhaps the same from a different vantage point. No viewing point can make those two cohere. La Spina’s still life is not cubist in its treatment of space, yet results in an object not simply  floating in space, but tethered to another perspective. Compare the aesthetic here to his more traditional <a href="https://openvalley.org/items/show/1156" target="_blank" rel="noopener">“October Bouquet.”</a> About the Artist: Very little is known about this artist born in Palermo, Sicily, who immigrated to the US in 1914 and became a citizen in 1936. Among his known works are a 1931 self-portrait, “Lady Justice Among Figures” (1932), “Portrait of Lillian” (1934), and “Pieta” (1949). In 1942 La Spina painted a FAP <a href="https://www.flickr.com/photos/nycdesign/16347786631/in/photostream/" target="_blank" rel="noopener">ceiling mural</a> for the Psychiatric Wing of Bellevue Hospital, NYC. He published a book entitled Clouds and Dust in 1975. Creator An entity primarily responsible for making the resource La Spina, Nunzio E., 1900-1988 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 #FA18195 Format The file format, physical medium, or dimensions of the resource jpeg, 879 KB jpeg, 13.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 102 Federal Art Project New Deal Gallery Nunzio La Spina painting https://openvalley.org/files/original/124e0fbfe2e355f9e6146c0fbac6d5e6.jpg 1a4c80dff23fe8f6c0f1c66b370a4a00 https://openvalley.org/files/original/052daab44b2bf738e0f5befb52c4226a.JPG 00f52d2a51371001c61190833681e465 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: flaked paint, chipped, surface dirt, patched hole 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 October Bouquet Description An account of the resource A side table, situated at the corner of two walls, displays a cobalt-blue vase filled with profuse blooms and fall folliage. Blue, cross-hatched walls and the table’s gray tone harmonize with the bouquet’s primarily pink and rose tones. The painting’s drama comes via light from upper right that is reflected upon the vase, sets apart its floral blooms from the background, and modulates the walls different tones. Compare the aesthetic here to his more experimental <a href="https://openvalley.org/items/show/1155" target="_blank" rel="noopener">“Flower Study.”</a> About the Artist: Very little is known about this artist born in Palermo, Sicily, who immigrated to the US in 1914 and became a citizen in 1936. Among his known works are a 1931 self-portrait, “Lady Justice Among Figures” (1932), “Portrait of Lillian” (1934), and “Pieta” (1949). In 1942 La Spina painted a FAP <a href="https://www.flickr.com/photos/nycdesign/16347786631/in/photostream/" target="_blank" rel="noopener">ceiling mural</a> for the Psychiatric Wing of Bellevue Hospital, NYC. He published a book entitled Clouds and Dust in 1975. Creator An entity primarily responsible for making the resource La Spina, Nunzio E., 1900-1988 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 #FA18196 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 15.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 103 Federal Art Project New Deal Gallery Nunzio La Spina painting https://openvalley.org/files/original/bae2f12692f8c8af702fb25dfd70c98f.jpg dd22a8fbe1cd9bc6e484b441773a408e https://openvalley.org/files/original/3e7b62af559d76b77c92022bfded1ed0.JPG 6a97e11b1d3b0e0fdb4a27e029e96af6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt, crayon marks 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 Wild Horses on a Dale Description An account of the resource Two horses run along an earthen path through what appears to be a stockaded chute, but upon examination the vertical columns turn out to be strata of rock, and four more horses are joining the pair from atop a stylized landform. Through a crack a blossoming tree has pushed its way into daylight; along the base of rocks grow unlikely floweres. In the distance can be seen grassy hills that might be expected in a valley, or “dale.” Lebduska gives his incongruous elements a dreamlike coherence: the similar expression upon each horse’s face; the way brown coats of hair transform into otherworldly colors upon joining the chase. About the Artist: Born in Baltimore to Czech parents, Lebduska trained to be a stained glass artist like his father, before immigrating to the US in 1912. Initially he worked as a painter of interior murals but by the late 1920s was exhibiting his own paintings. The label of Lebkuska as as a “primitive” akin to <a href="https://en.wikipedia.org/wiki/Henri_Rousseau" target="_blank" rel="noopener">Henri Rousseau</a> initially gained him attention during the 1930s and early 1940s; reportedly his paintings inspired Abby Aldrich Rockefeller to begin assembling her large collection of folk art. But as a 1941 <a href="https://www.moma.org/calendar/exhibitions/1703" target="_blank" rel="noopener">“Modern Primitives”</a> show at MoMA illustrates, it was a constrictive rubric: “All share the common denominator of Western culture at its most democratic level and all express the straightforward, innocent and convincing vision of the common man, ignorant of art or unaffected by it” (Barr). With a change in art world fashions Lebduska’s work fell out of favor during the later 1940s and ‘50s, and he descended into poverty and alcoholism. In the 1960s an art dealer named Eva Lee, impressed by one of his paintings, sought out Lebduska and helped him recover his health. He resumed painting until his death in 1966 with renewed public appreciation. 2 works at the <a href="https://americanart.si.edu/artist/lawrence-lebduska-6039" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://www.albrightknox.org/artworks/rca19423-horse-and-tiger" target="_blank" rel="noopener">Albright-Knox Art Gallery</a>. 3 works at <a href="http://argus.wadsworthatheneum.org/Wadsworth_Atheneum_ArgusNet/Portal/public.aspx?lang=en-US" target="_blank" rel="noopener">Wadsworth Atheneum</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-34" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Lebduska, Lawrence Henry, 1894-1966 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 1938 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 #FA18197 Format The file format, physical medium, or dimensions of the resource jpeg, 831 KB jpeg, 12 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 104 Federal Art Project Lawrence Lebduska New Deal Gallery painting https://openvalley.org/files/original/a8775b16a57aecc9cd67664bf08373c4.jpg eec5b56bdc7b9ecbc2377da9c0885a89 https://openvalley.org/files/original/c19bea65080d5a6255a1094e37a0ecd2.JPG 8eea507707b962e1a7899f0402064ac9 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 16 x 20 in. Condition: surface dirt, marked slightly with pencil or crayon 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 Lighter Good Hope Description An account of the resource A lighter was a type of barge used for unloading ships in shallower harbors; in the early 20th century, the name extended to lighter tugs used to move those unpowered barges. Here, in golden tones and against a wall of clouds, the Good Hope also is depicted as an object of beauty. In the lower portions of Litze’s painting, both her design and brushstrokes emphasize horizontal strata of road, wharf, water, planks, gunwales and, across the water, another line of vegetation and trees. The more spacious upper portion is reserved for the vertical geometry of mast and rigging. About the Artist: Lietze was born in Cincinnati, OH to German immigrants, her father Ernst a teacher of art and mechanical drawing at the Ohio Mechanics Institute. She graduated from the University of Cincinnati, then moved to Chicago sometime around 1904 to pursue her vocation. She exhibited “Still Life” at the Detroit Museum of Art (1903), “Early Morning” and “The Setting Sun” with the Society of Independent Artists (1919), and “The Snow Storm” at Laguna Art Gallery (1925). A 1923 show at the Museum of New Mexico noted how “Portraits that are rugged, still life which is unusual in its treatment and and landscape indicate the wide range of Miss Lietze’s ambition” (“The Galleries” 170). She is listed as an employee of the Federal Art Project, but no further information is available. Unfortunately, one of Lietze’s last public records is a 1955 editorial on the financial plight of elderly individuals like her: “One does not have to search far to discover one of these aged persons, cowering in some dreary lodging to which they have been assigned by a relentless fate....These people have played their role in the drama of life; they have made many sacrifices. Now, reduced to penury, they are probably granted a meager benefit....If need be, I apologize for these unpleasant remarks, but they proceed from the depths, for I, too am one of the underprivileged and I feel that the cards are stacked against me.” Sources Consulted: “The Galleries in May,” El Palacio 14.11 (1 June 1923): 169-170;Dolores Lietze, “Remember the Elderly,” Cincinnati Enquirer 10 Jan. 1955: 6). Creator An entity primarily responsible for making the resource Lietze, Dolores Sophia, 1880-1964 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, 710 KB jpeg, 14.4 MB Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18198 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 105 Dolores Lietze Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/a58988c7d83cba97203e78a9153c14ea.jpg f1f4e20e13f24dcaa9f7f719419b0919 https://openvalley.org/files/original/5bb3b121fb65b7d5053e2ea46eabf2f2.JPG a8f42129268d398f2d825ac16114ed9b 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: peeling, torn, crayon marks 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 Seascape Description An account of the resource It’s not impossible to render Lo Pinto’s scene in everyday terms: moored in a marina are several boats, two of them accessed by floating docks upon which a group of children are passing time dreamily. To describe it in such terms, however, would ignore the painting’s many surreal, even mystical elements. Why are some boats in full sail? Why do chains of rowboats—one in the foreground and four more in the distance—create angles in relation to the gangways? Do the colors here have any existence in the waking world? About the Artist: Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor <a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener">David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Court House in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at <a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 14 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener">FAP</a>. Source consulted: Archives of askART, including family papers courtesy of the artist's niece, Kathleen Lo Pinto Vignolini. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand, 1906-1980 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 #FA18200 Format The file format, physical medium, or dimensions of the resource jpeg, 808 KB jpeg, 9.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 107 Federal Art Project Ferdinand Lo Pinto New Deal Gallery painting