58 10 1323 https://openvalley.org/files/original/1b9310ad6946986c26598f54c3847a4d.JPG dc2165b7edcfaf2477eb014cdfa97e03 https://openvalley.org/files/original/950abf75fd3261c4ba96af7ceaf63def.JPG 5f774c5ec7e000cc39ad0feb132e17e0 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 Tempera painting Physical Dimensions The actual physical size of the original image 17.5 x 21.5 in. Condition: cracked glass, 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 Scene from Rose and Book Description An account of the resource The references in this uncanny painting aren’t clear. At the front of a stage we see a performer, seemingly dressed as a princess and like Cinderella wearing only a single slipper. She holds in her hand a white flower. Behind her, peeking out from seven “legs” receding into the distance, are stylized characters who seem to be drawn from folk tales: a king and queen, a dour stepsister, and so on. The scene is framed by footlights, curtains, and at far right a rope pull reaches out to us invitingly. Mearns’ title references a yearly festival in Barcelona; the painting’s anarchic energy also may derive from her experience with Hervey White’s summer <a href="https://www.newpaltz.edu/museum/exhibitions/maverick2007/maverick_festival.htm" target="_blank" rel="noopener">“Maverick Festival”</a> productions. About the Artist: Born Emma Mearns in Philadelphia, at age 19 she married the poet Laurence Jordan, was divorced from him in 1931, and then married medical writer and publisher Blake Cabot in 1937 (he died in 1974). Petra Cabot, as she was known thereafter, began work for designer Russel Wright in 1939, on his <a href="https://digitalcollections.nypl.org/items/5e66b3e8-ad27-d471-e040-e00a180654d7/book?parent=49ec4200-c542-012f-a65c-58d385a7bc34#page/1/mode/2up" target="_blank" rel="noopener">“Food Focal”</a> exhibit at the World’s Fair in New York City. In 1947, President Harry S Truman denounced modern art as “the vaporings of half-baked, lazy people....There is no art at all in connection with the modernists, in my opinion.” Mearns-Cabot was one of the Woodstock Art Association members to sign a letter rebuking Truman: “[W]hen a man in high public office chooses to denounce and condemn a large and important group of artists, because he happens to dislike their art, it becomes a matter of immediate and grave concern to all artists” (Kingston Daily Freeman 23 June 1947: 3). In 1952 she made her best-known contribution to American design with the Skotch Kooler, which refashioned metal “minnow buckets” into attractive and affordable picnic totes that became ubiquitous throughout that decade (“How”). Throughout her long life Mearns-Cabot continued to create in a variety of forms: painting, drawing, woodblock, illustrations for books and educational filmstrips, jewelry, and mixed media. 5 works at <a href="http://www.hvvacc.org/cdm/search/searchterm/Cabot,%20Petra/mode/exact" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 2 works at <a href="https://woodstockschoolofart.org/?s=petra+cabot" target="_blank" rel="noopener">Woodstock School of Art</a>. Sources Consulted: Douglas Martin, <a href="https://www.nytimes.com/2006/10/29/nyregion/29cabot.html" target="_blank" rel="noopener">“Petra Cabot, Designer of the 1950s-Era Skotch Kooler, Dies at 99,”</a> New York Times 29 Oct. 2006: A26; “How Two Young Men Saved an Ailing Business,” Changing Times: The Kiplinger Magazine Aug. 1953: 31-32. Creator An entity primarily responsible for making the resource Mearns, Petra, 1907-2006 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 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 #FA18204 Format The file format, physical medium, or dimensions of the resource jpeg, 854 KB j peg, 8.6 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 111 Federal Art Project New Deal Gallery painting Petra Mearns Cabot https://openvalley.org/files/original/0728a01a6e2febe01cace699b7537479.JPG 3341e1dcb5ba0dbf00f4e312c5fe8b2f 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 Monoprint Physical Dimensions The actual physical size of the original image 15.75 x 13 in. Condition: needs remounting 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 Greenfields Format The file format, physical medium, or dimensions of the resource jpeg, 959 KB Description An account of the resource At lower left, a tight cluster of houses is set along the same plane as a plateau running to the right; in the distance are gentle hills of a comparable height, and beyond that taller mountains in blue. In the basin between them we see the broad green fields that give Nagai’s monoprint its name, a space that with a change of color could be a lake. Tiny dots of yellow and orange across the fields may indicate houses on the opposite side, in which case the basin is massive. Subtle etchings in the paint convey ground contours, brush, and tree foliage—the grassfields are a fine-grained texture of their own. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 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 #FA18215 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 122 Federal Art Project Monoprint New Deal Gallery Tomizo "Thomas" Nagai https://openvalley.org/files/original/dbaf9ea84a02b49b37a17e31a388a50d.jpg a395156b241dbe917e5b5cca55ba06df https://openvalley.org/files/original/8a0623be40d21051cc0635bc1639f942.JPG f3253bd1d09d5375ad22e23de7631605 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 in. Condition: surface dirt, marked on right side Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flower Still Life Description An account of the resource Groups of like flowers, often in threes, are gathered into a roughly symmetrical bouquet along its vertical axis. The planter has no visible pattern; the wallpaper behind is defined via colors instead of pattern. Judging from highlights upon the planter and a shadow at right, sunshine filtering in from the left is quite strong. About the Artist: We haven’t located much reliable information about this artist. He exhibited his work at the Salons of America (1928), Chrysler Gallery (1932), and the Municipal Art Committee (1936). Ruth L. Benjamin described him as painting “portraits and still life, but seems to be at his best in landscape work” (Parnassus 7.5 [1935]: 15). He may have lived in Los Angeles beginning in the late 1930s. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-4" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nakagawa, Kikuta H., b. 1888 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 #FA18218 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 125 Federal Art Project Kikuta Nakagawa New Deal Gallery painting still life https://openvalley.org/files/original/1fa0ffdb94c770d69099332171618cf5.JPG 5296ece055a52b2b90dedd14401b60d8 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 29 x 22 in. Condition: 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 Peacock Pheasant Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource Currently known as the Malayan Peacock-Pheasant, it is represented here by Nakamizo somewhat outside of its normal forest habitat for the purposes of a carefully arranged display. In flattened space the bird’s striking eye-spots are unique in their color and shape; an array of rocks and autumnal leaves surround them. Its bright orange-red around the eye, as in this painting, appears only when it is courting—a decision perhaps more aesthetic than ornithological on Nakamizo’s part. About the Artist: Born in Fukuiken, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nakamizo, Fuji, 1889-1950 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 #FA18220 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 127 Federal Art Project Fuji Nakamizo New Deal Gallery Watercolor https://openvalley.org/files/original/f24817d1df3a269a214bf02e1a3f2bc5.jpg 6d6776b6aeb03167ad63b17e6a5a889e 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 Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blue Jay Description An account of the resource An alert jay sits upon a tree branch in the foreground, with billow of leaves or some other foliage in the midground. In the distance, we see the turret of a large building. Nakamizo’s decision to render this scene as an engraving turns it into a study of patterns, both upon the bird and in its habitat. At lower left is text indicating it was created for the Federal Art Project. About the Artist: Born in Fukuiken, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nakamizo, Fuji, 1889-1950 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 #FA18221 Format The file format, physical medium, or dimensions of the resource jpeg, 486 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 128 Engraving Federal Art Project Fuji Nakamizo New Deal Gallery https://openvalley.org/files/original/b9e255d17b6ca58a06bc8528ca46b7c2.jpg 6ffe01f91062798382ed88f061f01d1d https://openvalley.org/files/original/4672951964142b2e7684c4afe2ae8c39.JPG 176d07ecb9a3928a6010c8edcecba9bd 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: chipped, cracked, stained paint Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pot Marigold Description An account of the resource Striking design maintains accurate details of common marigolds in a glass vase or jar, while experimenting with simplified blocks of color. The nearly monochromatic background is variegated using brushstrokes and different thicknesses of paint. Nash’s decision to use a clear vase adds complexity and may be the still life’s most distinctive feature. About the Artist: Born in Sparta, WI, Genevra Ingersoll (her name a source of many spelling variants) came from a family of freethinkers, including her uncle <a href="https://en.wikipedia.org/wiki/Robert_G._Ingersoll" target="_blank" rel="noopener">Robert G. Ingersoll</a>—known as “The Great Agnostic” and one of America’s most popular orators of the day who counted as a friend the poet Walt Whitman. Ingersoll was educated by tutors and showed a talent for painting; however, her first career was on the stage, beginning in the Midwest, then on Broadway in shows like Arizona (1900) and Unleavened Bread (1901). She married the actor George F. Nash in 1888 and began dividing her time between America and England in 1902, about the time her interests drifted away from the commercial theater. Nash   collaborated with the novelist and early filmmaker <a href="https://en.wikipedia.org/wiki/Sir_Gilbert_Parker,_1st_Baronet" target="_blank" rel="noopener">Sir Gilbert Parker</a>; performed readings in London from the poetry of <a href="https://en.wikipedia.org/wiki/Oliver_Herford" target="_blank" rel="noopener">Oliver Herford</a>, “the American Oscar Wilde”; and wrote <a href="https://babel.hathitrust.org/cgi/pt?id=hvd.hn2mei;view=1up;seq=31" target="_blank" rel="noopener">an introduction to fairy tales</a> for the Consolidated Encylopedic Library. Her drawing-room readings made use of magic lantern slides she had painted herself. At this point, according to a later profile, Nash was encouraged to develop her talent for painting; she studied in Paris with <a href="https://en.wikipedia.org/wiki/Max_Bohm" target="_blank" rel="noopener">Max Bohm</a> and <a href="https://en.wikipedia.org/wiki/Lucien_Simon" target="_blank" rel="noopener">Lucien Simon</a> and then had a studio in Rome for eight years (Rohe). During the Great War she remained in Europe, painting among other works the striking <a href="http://www.askart.com/Photos/2018/ELD20180406_111225/1044_1.jpg" target="_blank" rel="noopener">“View of St. Paul’s Cathedral, London”</a> under attack from a 1915 Zeppelin bombing. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-7" target="_blank" rel="noopener">FAP</a>. Sources Consulted: “Women’s Clubs,” Brooklyn Life 8 Jul. 1905: 16; Alice Rohe, “Genevra Ingersoll,” Latrobe Bulletin 20 Mar. 1935: 3. Orison Swett Marden, ed., The Consolidated Encyclopedic Library, Vol. 5 (Emerson Press, 1903): 1213-1215. Creator An entity primarily responsible for making the resource Nash, Genevra (Ingersoll), 1860-1941 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 #FA18222 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 13.8 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 129 Federal Art Project Genevra Ingersoll Nash New Deal Gallery painting still life https://openvalley.org/files/original/3523317856f9f33fd8b2e2bad0660bf8.JPG 016fb79ed5296c4ab1917ad914972716 https://openvalley.org/files/original/f906a77aacd74102dbd61d5c8881bc3a.JPG fce301011a5fbae1eb458b0e7bb78cfa 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: stain in right corner Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Pasture Lot Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 14.2 MB Description An account of the resource Possibly inspired by a time spent farming in Massachusetts, Nesin’s painting radically flattens the landscape into a tapestry: sky and trees cascade down toward cows behind a fence at bottom. Somewhat abstracted forms give a pleasing roundness and regularity to nature. Nesin appears to set against this a few eccentric details, like a pair of boulders or a crooking fence rail, in the service of visual tension. About the Artist: Born in Krasilov, Russia (modern-day Ukraine), Nesin immgrated to the US in 1902 and received citizenship in 1911. He seems to have been trained as an engraver, although for a period during the 1930s worked as a farmer in Massachusetts with his brother Morris. He exhibited at the Federal Art Project Gallery (1936). Nesin’s painting “Sawing Wood for Winter” appears in a heartbreaking 1944 <a href="https://books.google.com/books?id=CFAEAAAAMBAJ&lpg=PA85&pg=PA85#v=onepage&q&f=false" target="_blank" rel="noopener">Life magazine story</a> on the decision by Colonel Brehon Somervell, the New York WPA administrator, to sell off completed canvases by the pound to a junk dealer. Throughout all these years—and until the end of his life—Nesin was a passionate debater of political issues. As a member of the Socialist Party, he advocated for old age pensions and against conscription during the Great War (he spent six months in jail for speaking on a street corner). Later, with the rise of fascism, he advocated for US vigilance and filled out a draft registration card at age 52. By the end of his life he had renounced socialism: “We walk with the code of Civilization: The Ten Commandments and the great Hebrew Prophets who were every bit Conservative” (New Guard April 1962: 19). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-15" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nesin, George, 1889-1962 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 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 #FA18223 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 130 Farm Federal Art Project George Nesin New Deal Gallery painting https://openvalley.org/files/original/312d7f225968f83834b8fa6b400183db.JPG 6c970aa2236229d94cbfe30b29882720 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 on canvas? Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: surface dirt, 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 Wash Day in the Country Format The file format, physical medium, or dimensions of the resource jpeg, 854 KB Description An account of the resource This view adopts some several conventions of folk painting: a non-linear perspective, extremely simplified renderings of structures and people; and a “coverage” of the scene that feels complete. The style was one of several for Nichols. Perhaps most intriguing here is a network of lines, or tributaries, that link together disparate elements. Smoke from a house at bottom reaches a vegetable plot, but goes no further; the trunk of a large tree at center continues upward as a road, and its branches all serves as “paths” to different objects in the painting. The washline at bottom left is just one of many lines. About the Artist: Born in Maywood, IL, Nichols came from a wealthy family and at times struggled to find his own artistic voice. He trained at the Art Institute of Chicago, Chicago Academy of Fine Arts, and the Art Students League. While studying at the Louvre, Paris in 1930, he became friends with the expatriate writer Henry Miller and painted his portrait with the Eiffel Tower in the background. For his part Miller wrote, hyperbolically, that “I feel convinced, when talking to [Nichols] that I am standing in the presence of a genius. I can see in him another Van Gogh, or better.[...] Nichols is a deeply cultured guy, a rich, ripe guy of the autumnal cities, a man of feeling, of intuition, of instinct, but also of great intellect, and of great ego...charming ego...charming effrontery. The child-man, the wonder-man, soft-voiced, musical, sure, suave, convincing, and never-ending” (Cosmodemonic). Not coincidentally Miller observed that a private income freed Nichols “to do what he wants,” which may be why one gallery owner recalled Nichols asking only $5 for his paintings: “I would say, ‘John, I can't give you $5. I’ll give you $20 for it.’ He'd say, ‘I can't accept that’...And whatever happened to John Nichols I don't know, but he painted in a Matisse-like manner and then went off to his own approach....He had marvelous reviews. I think money was not really the thing” (“Oral History”). Nichols’ work was exhibited throughout the 1930s and ‘40s at various galleries in Woodstock, NY, where he maintained a studio. His painting “Buzz Saw” was selected for the “New Horizons in Art” exhibit, MoMA (1936). He exhibited at the Federal Art Show, Woodstock, along with NDG artists Erna Lange, Leon Foster Jones. Ahead of a 1936 solo show at Sawkill Gallery, a press released described Nichols like this: “In spite of his conventional background and training he is somewhat of a rebel against established tradition” (Kingston Daily Freeman 24 July 1936: 6). 6 works at <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Nichols" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. Sources Consulted" <a href="http://cosmotc.blogspot.com/2006/07/john-nichols-and-millers-beard.html" target="_blank" rel="noopener">Cosmodemonic Telegraph Company: A Henry Miller Blog</a>; (<a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-bernard-braddon-and-sidney-paul-schectman-12316#transcript" target="_blank" rel="noopener">“Oral History Interview with Bernard Braddon and Sidney Paul Schectman, 1981 October 9,”</a> Archives of American Art). Creator An entity primarily responsible for making the resource Nichols, John Crampton, 1899-1963 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 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 #FA18224 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 131 Federal Art Project John Nichols Landscape Art New Deal Gallery painting https://openvalley.org/files/original/a17ca4e64795469a2dcd6c299cd5ca15.mp4 056cf11a6972f2df591015e31f03a40f https://openvalley.org/files/original/ec63e0b8b9e8746975aa10056c8cd8de.mp4 d2303730531bc240d3e70bc94e8717c9 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 Dust Storm Scene from "Interstellar" https://openvalley.org/files/original/279569019d7a6d89e27f81e307b5fca2.jpg 8fc1b0d7a85029db82fa7812b5e05004 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 Composite digital image 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 Artwork for Green New Deal Creator An entity primarily responsible for making the resource Theobald, Samuel (painting) Moody, Melissa (design) Cooper, Ken (design) Date A point or period of time associated with an event in the lifecycle of the resource 2019 Format The file format, physical medium, or dimensions of the resource jpeg, 580 KB Description An account of the resource This image combines Samuel Theobald's 1937 painting <a href="https://openvalley.org/items/show/1042" target="_blank" rel="noopener">"Close Relations"</a>, a Keeling Curve showing the rise in global carbon dioxide levels, and a stylized grid. It was created for a series of exhibits hosted by OpenValley. Type The nature or genre of the resource Still image Green New Deal New Deal Gallery Samuel Theobald