57 10 1323 https://openvalley.org/files/original/2a06e4a8c4225b63b02f14e8eb4edbb3.jpg c9b75966f9c0cbbf36fccc3ad582708e https://openvalley.org/files/original/dd8891706a6c87f0f18d417a871c4977.jpg c1ef3c29d679265461102a48a1bb60cf https://openvalley.org/files/original/26f5495b9dce2065f6cba81a1a83218e.jpg 602854e1f61c3f999bc52fef0b75214f 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 23 x 31 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Map of New York Description An account of the resource Map of New York State packed with illustrations representing significant people and events from the state’s history. From skiing in the Northern Adirondacks to picking grapes in the vineyards of the West, the images on this map tell the stories that define specific geographic locations across the state from the perspective of white society. Creator An entity primarily responsible for making the resource Hader, Berta Hoerner Hader, Elmer Stanley Publisher An entity responsible for making the resource available Harper & Brothers Publishers Date A point or period of time associated with an event in the lifecycle of the resource 1931 Contributor An entity responsible for making contributions to the resource Todd, Jillian Source A related resource from which the described resource is derived Berta and Elmer Hader's Picture Book of the States (Harper & Brothers, 1932) Courtesy David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 3.4 MB jpeg, 2.2 MB Type The nature or genre of the resource Still image Berta Hoerner Hader Colonialism Elmer Stanley Hader Map New York Romance Map https://openvalley.org/files/original/c4dbf99d9d0a6da874f1ae654f80c2d4.jpg aa8f3f10839879170457d73940c82959 https://openvalley.org/files/original/773bdaf7eb4e85563e66cf9fcd84c8c6.JPG 88335a4249fc056b31f171b9df82ef45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in. Condition: torn canvas, 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 Still Life Description An account of the resource A cryptic, maybe private allegory is signalled by this still life. We look downward to a table in disarray: yes, the towel is artfully draped, but eleven cherries are scattered from a bowl; the carafe of water doesn’t match a coffee cup and saucer; the presence of scissors can’t be logically inferred from the other objects. Maxey’s lighting, quite stark, arrives from the left to illuminate hard surfaces. About the Artist: Maxey’s art training took place at the National Academy of Design, New York. Working for the Federal Art Project during the 1930s, his paintings were placed in several New York locations: PS 109 (Brooklyn), PS 152 (Queens), New Utrecht High School, and the YMCA’s William Sloane branch; his paintings were shown at the Federal Art Gallery (1938, 1939). Maxey also was politically active: in an undated draft document, Maxey was one of many to propose an <a href="https://www.aaa.si.edu/collections/holger-cahill-papers-6730/subseries-4-4/reel-5291-frames-1285-1287" target="_blank" rel="noopener">Artists’ Union</a>, which in 1938 organized itself as the Federal Arts Committee and urged creation of a permanent Federal Arts Commission. Its executive board included actor Burgess Meredith, composer Leopold Stokowski, actor Lillian Gish, and painter Max Weber; Maxey was the group’s Executive Secretary. A bill jointly sponsored by Rep. John Coffee (WA) and Sen. Claude Pepper (FL) failed to gain support, and federal funding for artists withered. During the 1950s Maxey and his artist wife, Amelia (herself a WPA artist), moved to Bucks County, PA and ran a business specializing in painted furnishings. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-15-folder-31" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Maxey, Stevens, 1903-1969 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 #FA18202 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 13.7 MB Type The nature or genre of the resource Still life Identifier An unambiguous reference to the resource within a given context 109 Federal Art Project New Deal Gallery painting Stevens Maxey still life https://openvalley.org/files/original/20f5832130e7e2d1a6ece97485c641a2.JPG bc7130bae6c974ffbd00535271f85022 https://openvalley.org/files/original/99d7422c81fd01b63bab693ac818f014.JPG dff452101cdfc8a25319d31b8458512b 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 16 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 Autumn Leaves Description An account of the resource Delicate, minimalist still life depicts a vase of cut stems from trees and plants. In keeping with the season—but also reminding us of time’s passage—two leafs have fallen upon an unadorned table. McEvoy’s flattened background transforms the leaves into an arrangement of color and form; a seemingly glowing, ruby-red globe is at once part of the autumnal pallette and an object of fascination in its own right. About the Artist: What’s known of McEvoy is very limited and seems to reflect the limited opportunities for women artists during her time. She was born in Dubuque, IA, and appears to have studied at the Art Institue of Chicago. By the 1930s her name is mentioned in newspaper items as a teacher at the Queensborough Community Art Center; reading poems or reading palms at a Woodstock summer fundraiser. Her paintings “Allegro” and “Intime”  were shown at the Woodstock Art Gallery; “The Willow Tree,” “Paradise,” and “Flowers” at the Larkin House, Ossining, NY. At one of these shows her work was exhibited along with NDG artist Erna Lange, and it’s interesting to imagine that the two women might have met. During 1937 McEvoy worked for the “Gallery Tours” division of the Federal Art Project: “Miss McEvoy will describe the techniques of etching, aquatint, and lithography, and a demonstration of the printing of a lithograph will take place” (Daily Worker 13 April 1937: 7). Creator An entity primarily responsible for making the resource McEvoy, Myrtle S., 1892-1973 Publisher An entity responsible for making the resource available Federal Art Gallery 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 #FA18203 Format The file format, physical medium, or dimensions of the resource jpeg, 968 KB jpeg, 10.3 MB Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 110 Federal Art Project Myrtle McEvoy New Deal Gallery painting still life https://openvalley.org/files/original/43942685e8b713fee9d80e1bb6de3da0.JPG 2637f038ace460016d92f7d4a3c7921f https://openvalley.org/files/original/4638c282f59ba88630f3765f8ecaaf31.JPG 6578ce470b7cea2759e26d5c7d131472 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 29.5 in. Condition: chipped 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 Fighting Stallions Description An account of the resource A fierce encounter between two stallions recalls the work of Frederic Remington in its drama and stripped-down setting. Rounded masses of muscle on the horses resemble the surrounding hills, particularly at lower right. Although not perhaps set during nighttime, a stark contrast between white horses and the landscape’s darker colors likewise owes a debt to Remington’s moonlit scenes. Here there are no humans, other horses, or even trees to witness this frozen moment in time. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 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 #FA18205 Format The file format, physical medium, or dimensions of the resource jpeg, 908 KB jpeg, 12.5 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 112 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/3c25bed932cdfae54786629f1bbbd63b.JPG a085ea719ff2897aab3158398300eb15 https://openvalley.org/files/original/fa341ea6f67266b12da6e7be4f025564.JPG 51db6b43d3aabad013e7b621188b08a8 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 16 x 15.5 in. Condition: good, protected by glass 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/. Description An account of the resource Pale girl sits atop a pony, protected from the sun’s rays as apples fall from a tree nearby. The pony, meanwhile, stares blankly at the ground. Although Meloy’s familiarity with animals shows in his representation of anatomy and posture, the bright sun (and perhaps his interest in abstraction) washes away finer details of the scene; the watercolor becomes a composition in red, yellow, white, and brown, with carefully chosen accents of blue. About the Artist: Born in Townsend, MT, Meloy was raised on the family ranch, where he and his siblings were encouraged to pursue their creative interests as children. His parents arranged for a year of study with the landscape painter <a href="http://www.askart.com/artist/Elmer_L_Boone/65200/Elmer_L_Boone.aspx" target="_blank" rel="noopener">Elmer Boone</a>, and meanwhile Meloy took correspondence courses in commercial art. Visiting friends in Chicago, a trip to that city’s Art Institute so moved him that he decided to enroll there, marking a change in plans and the “divide between a reliable career in commercial art and a more risky career in painting” (citation). Meloy relocated to New York in 1926, studying first with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the National Academic of Design and then <a href="http://www.askart.com/artist_bio/John_Wesley_Carroll/2060/John_Wesley_Carroll.aspx" target="_blank" rel="noopener">John Carroll</a> at the Art Students’ League. Meloy was influenced by the Ashcan School’s urban realism, sketching on New York’s busy streets and while riding its subway: “These urban portraits convey Meloy’s interest for the whole of life’s volume and mass. The movement of fast-paced New York is depicted through sweeping caricature into beautiful line figures in motion, changing light, and telling environmental information” (citation). During the late 1920s and early ‘30s Meloy supported himself, in part, through illustrations for western and outdoor magazines. Beginning in 1933 he created works for the WPA, including its Easel Art division. During 1941-42 he painted a mural, <a href="https://postalmuseum.si.edu/indiansatthepostoffice/pdfs/The_Flathead_War_Party.pdf" target="_blank" rel="noopener">Flathead War Party</a>, for the US Post Office in Hamilton, MT that still remains. Beginning in 1940 Meloy taught art at Columbia University, where he became intrigued by the more abstract painting of artists like <a href="https://en.wikipedia.org/wiki/Henri_Matisse" target="_blank" rel="noopener">Henri Matisse</a>, <a href="https://en.wikipedia.org/wiki/Willem_de_Kooning" target="_blank" rel="noopener">Willem de Kooning</a>, and <a href="https://en.wikipedia.org/wiki/Jackson_Pollock" target="_blank" rel="noopener">Jackson Pollock</a>. In a letter concerning his new experiments with color, line, and shape he wrote, “I want to fit in and at the same time I want to be alive and contribute something of myself” (Rodriguez). Meloy died suddenly in 1951, while waiting for a train in Grand Central Station. 2 works at the <a href="https://www.metmuseum.org/art/collection/search#!?q=meloy" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3509/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://yellowstoneart.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Yellowstone Art Museum</a>. 18 works at <a href="http://montanamuseum.pastperfectonline.com/bycreator?keyword=Meloy%2C+Henry" target="_blank" rel="noopener">Montana Museum of Art & Culture</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-7" target="_blank" rel="noopener">FAP</a>. His papers and approximately 4,000 oil paintings are the <a href="https://www.umt.edu/montanamuseum/permanent/henrymeloy.php" target="_blank" rel="noopener">Montana Museum of Art and Culture</a>. Sources Consulted: Gordon McConnell, “Henry Meloy: Record of a Life,” Henry Meloy: Five Themes, 1945-1951 (Yellowstone Art Center, 1990); Kathryn Lorraine Rodriguez, <a href="https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2269&context=etd" target="_blank" rel="noopener">Henry Meloy: The Portraits, A Narrative of the Exhibition</a> (MA Thesis at University of Montana, 2008) Title A name given to the resource Girl and Pony Creator An entity primarily responsible for making the resource Meloy, Henry J., 1902-1951 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 #FA18206 Format The file format, physical medium, or dimensions of the resource jpeg, 795 KB jpeg, 6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 113 Federal Art Project Henry J. Meloy New Deal Gallery painting https://openvalley.org/files/original/4b6a468086237e87a283e668cff92f5d.JPG 119951ee11817ab640d2c4acb7cad660 https://openvalley.org/files/original/26a314013296a49e727594c1f0df9725.JPG 091de6c25afc36221093834454981b5e https://openvalley.org/files/original/30b2dd4e977926a02c63dbd27a817a63.jpg 829fee7f451ca88bf5b8988504ab7216 https://openvalley.org/files/original/682c44a047ac22474ef4aa80935db2e8.jpg 84cae16ecdd08e81b0c683d8b166085f 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 29.5 in. Condition: surface dirt, tack marks, slight peeling and scratches 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 American Farm Description An account of the resource This striking landscape is organized around the single arc of a highway that divides the space into two sectors: above, a brightly lit realm of forests and mountain ridges; below, a shadowed landscape of brown fields, a diseased tree, and a dilapidated farm house. Clearly, the travails of American farmers during the 1930s has influenced Mira’s subject matter. The highway itself is a pristine band of white futurity, guarded on one side by rails and on the other by electric or phone lines (which the farm conspicuously lacks). Improbably, we see three cars on the road along with two people walking alongside; what may be a farmer watches them walk away. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 887 KB jpeg, 11.6 MB jpeg, 655 KB Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 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 #FA18208 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 115 Alfred S. Mira Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/c6b6e23018e82ea8118b2ea96c5cf648.JPG f7d0a0a47e1e468efb3c5aafab5385a9 https://openvalley.org/files/original/08bd8884764d1d0b6b7e11c7d307ffc4.JPG 811b6ab50a6493c2393bed9350c04d41 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 June Bouquet Description An account of the resource Luminous still life is not so much about the objects arranged here but how the light plays off them. In a cobolt-blue vase decorated with a rose pattern, we see a bouquet of roses at their peak of beauty and nearly glowing in the soft light. As a traditional symbol of fleeting beauty, however, we may notice a slightly drooping one at right that appears to be casting a shadow upon the wall. Mira’s colors for the table and wall aren’t strictly naturalistic; they’re chosen to coordinate with the tones of his June roses. About the Artist: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (Gettysburg Times 10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (Los Angeles Times 31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener">The Athenaeum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Mira, Alfred S., 1900-1981 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 #FA18207 Format The file format, physical medium, or dimensions of the resource jpeg, 917 KB jpeg, 11.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 114 Alfred S. Mira Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/432de9a142e0ee3ae7c78f5f2afe3297.JPG dbb62c514a24853f137b7c75ebce6d9e https://openvalley.org/files/original/0b87d97314bb93c7367a05f60304a008.JPG dc3a92a849001c6857c647f06b6b4368 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 36 x 29.5 in. Condition: cracked paint, canvas dented 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 Winter Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 11.6 MB Description An account of the resource A beautiful and delicately lit scene of trees in a field of snow suggests, via its background, that we are in a valley at some considerable elevation. Against the placid light and colors is an arrangement of trees that reveal the struggle for existence: at left a broken limb lies upon the ground, another tree leans at an angle and the dramatically curved main trunk of a third all testify to the forces of wind, snow, and altitude. About the Artist: We haven’t been able to identify this artist. Please contact us if you have more information. Creator An entity primarily responsible for making the resource Morgan 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 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 #FA18209 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 116 Federal Art Project Landscape Art Morgan (painter) New Deal Gallery painting https://openvalley.org/files/original/c32cd715aa8a08ed7e782e6a4faca8a9.JPG 5fa509a15ac689b64afbcb03e9524219 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: flaking paint, surface dirt, stains 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 On the Rocks Format The file format, physical medium, or dimensions of the resource jpeg, 867 KB Description An account of the resource This dramatic view of a coastal shoreline and shipwreck is lit with the light pinks and blues of twilight. At left, a rocky coast and cliffs in the background; in the foreground, breaking waves and foamy aquamarines. The abandoned ship itself tilts upon rocks and amidst ocean swells testifying to the area’s danger. A few tattered remnants of sails leave us wondering what happened, and how long ago. About the Artist: We haven’t located much reliable information about this artist. Born in Warsaw, Poland, Morosoff immigrated to the US in 1904 and became a citizen in 1936 under the name William Morton. He moved to Los Angeles, CA in the late 1930s. His NDG painting shows an interest in maritime art with an historical bent, which included other paintings such as “U.S.S. Constitution” and “Caravels of Columbus.” His FAP painting “Battle Fleet Maneuvers” was allocated to the Fourth Battalion US Reserves on Long Island. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-31" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Morosoff, Vadim Vladimirovich, b. 1874 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 #FA18210 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 117 Federal Art Project New Deal Gallery painting Vadim Morosoff https://openvalley.org/files/original/ec1a7334968273a0d5e51a15472c1935.JPG 97b12d148e992be878997927537b39ed https://openvalley.org/files/original/357f42cd7fad82ee3c4c1ef4800024e9.JPG cc249abb4ec775875725f49f7fc21634 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 20 in. Condition: torn, canvas thin, cracking, pitted Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life on a Table Description An account of the resource In stark contrast to Dutch pronk still-lifes, known for their ostentatious display of exotic objects, we see here a much humbler setting and collection. A rough wooden table (albeit polished enough to reflect fruit resting upon it) is nestled against dark brown walls. A colorful vase and striking succulant plant displace us from the struggles of life during the 1930s; a battered fedora hat at lower right returns us to them. About this Artist: We haven’t been able to identify this artist. Please contact us if you have more information. Creator An entity primarily responsible for making the resource Muir, John 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 #FA18212 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 14.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 119 Federal Art Project John Muir (painter) New Deal Gallery painting still life