56 10 1323 https://openvalley.org/files/original/258796aa1719413a100868588fcc8954.jpg 1b109f1b53a9b04bf41e0ab6a3f6cacc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 19.5 x 22.5 in. Condition: needs remounting, paper buckling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sea Life Format The file format, physical medium, or dimensions of the resource jpeg, 959 KB Description An account of the resource We behold at least a dozen distinct plants and animals as a flattened tapestry whose weave isn’t simply metaphorical: the warp of vertical plants and rising bubbles is complemented by a weft of horizontel “currents” visualized for the painting. Although it’s quite likely most viewers would know such sea life only through the glass of an aquarium, Patterson effaces all traces of artifice in the service of an even deeper one: a blue-shifted, underwater world. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18231 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 138 Claude A. Patterson Federal Art Project New Deal Gallery painting Watercolor https://openvalley.org/files/original/a8ab4b99f059a9d2c306b5b1e0291ca5.jpg b456386ac20c7e97a1e1cac4ceb2ecb9 https://openvalley.org/files/original/6888a89d0768d9f836d15c5b5d6d3274.JPG ef16973bd145a9179d37a5fda0b12dad https://openvalley.org/files/original/ac5903390c3f22a56c88ff51ccb2be93.jpg 5ff9fdf2600d14cb0b9704b16aa9d1b3 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 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 Highwater Format The file format, physical medium, or dimensions of the resource jpeg, 928 KB jpeg, 10.7 MB jpeg, 1.2 MB Description An account of the resource Given its light greens and the implied blossoms of field flowers, Patterson’s landscape may be set during springtime, in which case the lake pictured here still would be filled with meltwater. His fresh, pastel-shaded scene celebrates nature with any traces of the human carefully cropped out of visible range. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-27 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 #FA18232 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 139 Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/be99a77226f3b5f125b88c544c151dc7.JPG 26c735c56fc6234f5b61b6bb7e016ce5 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 Condition: surface dirt, some spots, slightly 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 Orioles Format The file format, physical medium, or dimensions of the resource jpeg, 885 KB Description An account of the resource This group of individuals from the blackbird family each perches on a distinct branch, looking in a different direction, and in physical space likely at some distance from the others. Yet Patterson telescopes his composition so as to render them tightly clustered together. The birds are framed by the branches and flowers of what is apparently a cherry tree, blossoming in early spring to perhaps welcome them back. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18233 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 140 Claude A. Patterson Federal Art Project New Deal Gallery painting Watercolor https://openvalley.org/files/original/2c11cea3dc262cfaad992225b113247d.jpg 5807e625b53e22ad13e7d43d26e20b23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 23.5 x 19.5 in. Condition: slightly cracked canvas 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 November Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource The center of this landscape is a tree with gold and yellow leaves, a few just turning to orange. Nearby bushes already have dropped their leaves, allowing for views across a pond or river to the other shore, and mountains in the far distance. Everything except the foreground is painted in hues of blue, white, and green—the better to set off the blaze of color in front of us. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936-12 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 #FA18235 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 142 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/debca70344efd902dca22aa6aa71ffbb.jpg e1e16398e438eb125da32eea5438a0e1 https://openvalley.org/files/original/eee809af0ba33f22234be649bcf99314.JPG 34b8c97715b60b650feb038dc7a7c519 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 19.5 x 23.5 in. Painting condition: paper buckled Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource High in the Tree Tops Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 15.2 MB Description An account of the resource We’re asked to adopt a perspective almost never accessible to humans: near the top of a tree, at close proximity to parrots. A light wash of cloudy white and blue in the background encloses the birds; their distinctive colors echo those of the tree’s leaftips and berries. An earlier New Deal Gallery inventory speculates that this is a rubber tree, and it does appear to be a Ficus of some variety. Patterson’s watercolor bears resemblance in its design to his <a href="https://openvalley.org/items/show/1216">Orioles</a>: a simplified canopy to better frame the birds, an emphasis upon their bright colors, and a use of foreshortening to bunch several birds closer together. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18378 Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Watercolor https://openvalley.org/files/original/4ed4256055e3d10807dedc6efb128262.JPG 2f867add77e2682608a492ceec474327 https://openvalley.org/files/original/e2c7ede03a080416bbb9c9ec1108fb78.JPG 0943063409e737da5ba45bb827501f62 https://openvalley.org/files/original/b9a3059576be5c40eb3341a99d20a2f5.jpg 5bfea24ead300e47859757f03d917e46 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: stained, pencil 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 Midsummer Day Description An account of the resource From the edge of a lake or slow-moving river, we look across to see several houses built at water’s edge. Using a palette similar to his other New Deal Gallery paintings, Patterson depicts a freshness normally associated with springtime: there appear to be yellow flowers in bloom along the shoreline, and mountains in the distance show no traces of snow. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; along with his teaching posts are frequent mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and at the Des Moines Women’s Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude, (1887-1973) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (Photography) Anderson, Justin (Biography) Cooper, Ken (Biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18234 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1. MB jpeg, 8.9 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 141 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/674cddf113c064f4d90fa1aa965239b0.jpg ade60b19e7c04629170b0204e28deb3f https://openvalley.org/files/original/3b65e512b979bfa825d9a05bb4fdc265.jpg 7f6373e5b253c99513e6f72fd8a45e35 https://openvalley.org/files/original/1312bb751f7fd82b59b6ab0e2345a463.jpg fd51f0cd9397bdc2b3f41e98053bd335 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 25 x 21 cm 25 x 21 cm 73 x 29 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource United States of America map Description An account of the resource This item consists of three files from an teaching atlas from England created by Rev. Edward Patteson. The first is a map of the United States, apparently not yet reflecting the Louisiana Purchase. The second is what Patteson terms a "Blank Duplicate" of the first map, which he argues will be found "very convenient...as giving a much clearer view of the number and situation of the Towns, Rivers, &c. than a Map crowded with names." Patteson's pedagogy seems to have entailed students recognizing political boundaries at least in terms of latitudes and natural features, like rivers and mountain ranges. The third image is a merged document enacting Patteson's design to have the Blank Duplicate "placed opposite to the written Map." Creator An entity primarily responsible for making the resource Patteson, Rev. Edward Publisher An entity responsible for making the resource available N.R. Hewitt, printer Date A point or period of time associated with an event in the lifecycle of the resource 1804 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.4 MB jpeg, 1.1 MB Atlas Edward Patteson Map rivers Watershed https://openvalley.org/files/original/952e0c8f8b9e18b15032bf9a48f3c6df.jpg 688b985c03dfce8d55e4df8c051cab29 https://openvalley.org/files/original/d918e7a2f7b5e7cd36bfb3d48314ad17.jpg ea0ca70e93d4dbbfb42f13e2fe300b19 https://openvalley.org/files/original/b17edaca0c8563ec153330cfa280bf61.gif 575d7b80245ee4a2da5bdcf0a51e4163 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Lithographed maps Physical Dimensions The actual physical size of the original image 25 x 17 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cotton Spinning Mills, 1880-1926 Creator An entity primarily responsible for making the resource Paullin, Charles O. Wright, John K. Publisher An entity responsible for making the resource available Carnegie Institution of Washington American Geographical Society of New York Date A point or period of time associated with an event in the lifecycle of the resource 1932 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Atlas of the Historical Geography of the United States. By Charles O. Paullin, Carnegie Institution of Washington. Edited by John K. Wright, Librarian, American Geographical Society of New York. Published Jointly by Carnegie Institution of Washington and the American Geographical Society of New York, 1932. <a href="https://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~248427~5516148:Plate-136--Manufacturing--Cotton-Sp?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No&qvq=w4s:/when%2F1932;q:cotton;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=3" target="_blank" rel="noopener">David Rumsey Historical Map Collection</a> Format The file format, physical medium, or dimensions of the resource jpeg, 808 KB jpeg, 831 KB Description An account of the resource Two maps from an historical atlas show the rise of a southern textile industry, especially during the early 20th century. By 1926, the long-dominant New England region of textile manufactures was about even with the south; in another twenty years it had been almost entirely supplanted. This item consists of two plates from the historical atlas that have been cropped. Type The nature or genre of the resource Still image Cotton industrialization Map Perry Knitting Co. Textiles https://openvalley.org/files/original/afbb4dab3a3867b4e4877ca6556a1e16.jpeg ad74341544a88362538c073756fc234b Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Sheffield Peabody's Diary, 1913 Description An account of the resource Records of wages paid by Peabody for help on his farm Creator An entity primarily responsible for making the resource Peabody, Sheffield Date A point or period of time associated with an event in the lifecycle of the resource 1913 Source A related resource from which the described resource is derived Sheffield Winslow Peabody Diaries and Pass Book, 1849-1914. Genesee Valley Historical Collection, Milne Library, SUNY Geneseo. Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Type The nature or genre of the resource Diary Contributor An entity responsible for making contributions to the resource Yonce, Courtney Diary Sheffield Peabody https://openvalley.org/files/original/b925a8c4d2eb16c5343fbb8f42c9329d.docx 412806a13973b49ffe133e40b68d8abe 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. 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 Diary of Sheffeild Peabody Description An account of the resource Sheffield Peabody was a farmer who chronicled his life in Springwater, NY between 1849 and 1914. In many ways his life was typical of his peers: he struggled to make a living at a time when American agriculture favored railroads, food processors, and ever-larger farms. His diary allows us to grasp what it was like to be a typical farmer living in Western New York during this time. Creator An entity primarily responsible for making the resource Peabody, Sheffield Date A point or period of time associated with an event in the lifecycle of the resource 1849-1914 Contributor An entity responsible for making contributions to the resource Keane, Jordan Format The file format, physical medium, or dimensions of the resource doc, 128 KB Type The nature or genre of the resource Diary Diary Geneseo Underground Atlas