60 10 1323 https://openvalley.org/files/original/21557ac445f4f713f07bcc4b64b66b96.jpg 7f781f0721522017b64f86129e002e79 https://openvalley.org/files/original/bb55f7e98130d96e3d89d812c879ce23.jpg 4d7278d1666e3ca34ae3d1975a8eb786 https://openvalley.org/files/original/809fac9c7156c0fe8445f405aeaca93a.jpg d8a78c3cb5196cd30d6e479190433954 https://openvalley.org/files/original/df41971a5eb80490a3bdb7573df3b5ab.jpg 0791c410c4ddd50e5471f85bdc9c910a 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 on canvas mounted on board Physical Dimensions The actual physical size of the original image 61.6 x 92.1 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 Black Mesa Landscape, New Mexico / Out Back of Marie's II Creator An entity primarily responsible for making the resource O'Keeffe, Georgia Date A point or period of time associated with an event in the lifecycle of the resource 1930 Source A related resource from which the described resource is derived <a href="https://flic.kr/p/Nast2P" target="_blank" rel="noopener">Photograph by Trevor Huxham via Flickr</a> Format The file format, physical medium, or dimensions of the resource jpeg, 451 KB Publisher An entity responsible for making the resource available Terra Foundation for American Art Description An account of the resource Beginning in the late 1920s, O'Keeffe began spending much of her time in the American southwest, painting its sensuous landscapes. This image is in OpenValley for the purposes of comparison to Philip Cheney's <a href="https://openvalley.org/items/show/1098" target="_blank" rel="noopener">Rocky Mountain Highway</a>, likewise sculptural but networked with paved roads. https://openvalley.org/files/original/18e7b2859006048e596615e9aaf22fc9.jpg 0e875ff49463a2c9583e503013bb0009 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, cracked slightly, pitted Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New York Markets Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource At an unidentified and humble market advertising “Fruits & Produce,” we see what appears to be a family preparing their display. The muted browns of the ground, wooden crates, and shed constitute much of the painting yet serve as a backdrop to the bright colors of the food and the warmth emanated by the farmers. Myers’ composition features several tiers, our eyes zig-zagging along diagonals of produce. A glow in the sky signifies that sunrise is near. The artist had a longstanding fascination with street markets as subject matter, as seen in <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3755?q=Myers%2C+Jerome&record=9&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Street Market</a> (1917) and <a href="https://collections.si.edu/search/detail/edanmdm:hmsg_66.3756?q=Myers%2C+Jerome&record=10&hlterm=Myers%2C%2BJerome&inline=true" target="_blank" rel="noopener">Marketing</a> (1928). About the Artist: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener">Jerome Myers Memorial Exhibition 3</a>). A <a href="https://magart.rochester.edu/Media/images/2000.29a_A1.jpg" target="_blank" rel="noopener">self-portrait</a> late in life shows a humble, quizzical man. Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 3 works at <a href="https://magart.rochester.edu/objects-1/thumbnails?records%3D9%26query%3DPortfolios%20%3D%20%221006%22%20and%20Sort_Artist%20%3D%20%22Myers,%20Jerome%22%26sort%3D52/1000" target="_blank" rel="noopener">Memorial Art Gallery</a>; 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</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-43" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Myers, Jerome, 1867-1940 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 #FA18213 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 120 Farm Market Federal Art Project Jerome Myers New Deal Gallery painting https://openvalley.org/files/original/931a092d5b8ebe3ac5e81743af396786.jpg 673bf791f59fec66d81fd2630068413f 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 Photograph of oil painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Triumphal Arch Format The file format, physical medium, or dimensions of the resource jpeg, 471 KB Description An account of the resource Also known as the Vermont Centennial Arch, it was designed by William C. Bull to celebrate Vermont's statehood in 1791. It was built of wood and covered with canvas painted to replicate the stones of its better-known and more permant <a href="https://en.wikipedia.org/wiki/Bennington_Battle_Monument" target="_blank" rel="noopener">Battle Monument,</a> likewise dedicated in 1891. At a ceremony attended by President Benjamin Harrison, 75 young men and women sang patriotic songs from atop the arch. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff immigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon" target="_blank" rel="noopener">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467" target="_blank" rel="noopener">Federal Art Project, Photographic Division Collection, Box 7, Folder 13</a> Type The nature or genre of the resource Still image Bennington Battle Monument Bennington Centenniel Arch Federal Art Project painting Simon Ivan Fidaroff https://openvalley.org/files/original/de9e4396c2ed78fe59e0b00c3e208400.png 0ad9b2e4f0fdc6f1f377fbe4654e580b Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing 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 Lo Pinto Illustration From Page 176 Description An account of the resource Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 479 KB Type The nature or genre of the resource Still Image https://openvalley.org/files/original/4ab2c8ca69eb1cbe966e9707dc8fb30f.png 432f3fe78d98b1854009bbefbd6c4edc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing 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 Lo Pinto Illustration From Page 53 Description An account of the resource Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 537 KB Type The nature or genre of the resource Still Image https://openvalley.org/files/original/e4b06802ae6de75db876117a9abdd987.jpg b532d99c8bb1ff8cb21fbf9dcd7ec8b6 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing 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 People Description An account of the resource One of several illustrations created for a Federal Writers Project book on the state of Alaska, this one is for a chapter treading delicately about indigenous peoples in relation to White settlers. Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 692 KB Type The nature or genre of the resource Still Image https://openvalley.org/files/original/dea457dfeaa15599e3fcf4594499ca8e.png 9d27bc3d775697571786de3f91a318c4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data drawing 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 Lo Pinto Illustration From Page 3 Description An account of the resource Lo Pinto, Ferdinand (1906-1980) Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)" target="_blank" rel="noopener"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994" target="_blank" rel="noopener"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand (1906-1980) Publisher An entity responsible for making the resource available The Macmillan Company Date A point or period of time associated with an event in the lifecycle of the resource 1939 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived Colby, Merle. A Guide to Alaska Last American Frontier. New York: The Macmillan Company, 1939, print. Accessed at <a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up" target="_blank" rel="noopener">archive.org</a>. Format The file format, physical medium, or dimensions of the resource jpeg, 487 KB Type The nature or genre of the resource Still Image