60 10 1402 https://openvalley.org/files/original/c94da8d1dfad8effb6169fc63671ea16.JPG 0e6aee33c0d68f28b96cc6bf68f24a4b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: 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 Old Mill, Worthington, Mass. Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource The structures depicted here are in all likelihood those of the <a href="https://i2.wp.com/whs.eastus.cloudapp.azure.com/wordpress/wp-content/uploads/2014/05/South-Worthington-Higgins-Mill-LR.jpg" target="_blank" rel="noopener">Theron Higgins Mill</a> located alongside the Little River in Worthington, MA. They’re rendered in a somewhat telescopic view so as to compress a nearly impossible number of scenic elements: river, dam, bridge, buildings, and several layers of foliage receding into the distance. Thick brushstrokes of vivid fall colors, arranged in bold masses, are typical of Owen’s painting style. About the Artist: Born in North Adams, MA, Owen grew up in a farming family, moving to Boston at age twenty on a scholarship to study at the Eric Pape School of Art. Later, he would study at Art Students League, the Chase School and the National Academy of Design. Like many other aspirational artists of the day, Owen created illustrations for periodicals—Cosmopolitan, Scribner’s, Harper’s, Life—and for literary works, including the well-known author Hamlin Garland’s short story <a href="https://en.wikisource.org/wiki/The_River%27s_Warning" target="_blank" rel="noopener">“The River’s Warning”</a> (1902), Helen Fuller Orton’s <a href="https://archive.org/details/bobbyofcloverfie00orto/page/n7?q=%22r.+emmett+owen%22" target="_blank" rel="noopener">Bobby of Cobblefield Farm</a> (1922), and Percy K. Fitzhugh’s <a href="https://archive.org/details/tomslademotorcyc00fitz/page/n8?q=%22r.+emmett+owen%22" target="_blank" rel="noopener">“Tom Slade”</a> series of Boy Scout books. A turning point arrived in 1910, when Owen visited Connecticut and devoted himself to painting this region, regardless of the season; farmers called him “the feller who don’t mind the weather” (“Owen’s Pictures”).  In 1920 Owen returned to New York with the novel idea of opening a gallery devoted to selling his own work, the Robert Emmett Owen New England Landscape Gallery. It would remain open at different locations until World War II, after which he was artist in residence at the <a href="https://openvalley.org/items/show/1056" target="_blank" rel="noopener">Thomas Paine Cottage Museum</a>. 5 works viewable at a 1935 Rains Gallery <a href="https://archive.org/details/unset00rain_16/page/52" target="_blank" rel="noopener">auction catalog</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/robert-emmett-owen-papers-10754" target="_blank" rel="noopener">Archives of American Art</a>. Source Consulted: “Owen’s Pictures on Exhibition,” Orlando Sentinel 1 June 1925: 5. Creator An entity primarily responsible for making the resource Owen, R[obert] Emmett, 1873-1957 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 1937-08-24 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 #FA18227 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 134 Federal Art Project Mill New Deal Gallery painting R. Emmett Owen https://openvalley.org/files/original/da22cf28489c06a413605def2b4d785b.jpg 2fb91ded242ba9b8434ec86f5352dc93 https://openvalley.org/files/original/d8331c9e1c9dc3aa28f291eb54200701.JPG 63bc457bb04b3019cbf1aebfebed4d0e 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 17.25 x 21.5 in. Condition: cracked paint, 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 Paper Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 876 KB jpeg, 11.4 MB Description An account of the resource The pleasing daisies in a vase at center may give this painting its name, so artfully have they been created and arranged. If so, their status as humble field flowers plays against the ornate, patterned background and checkerboard table. Beautifully harmonized colors create a self-enclosed space. Another interpretation of Pandolfini’s title might observe that everything here is a sort of Trompe-l'œil with painted surfaces. About the Artist: Born in Palermo, Italy, Pandolfini immigrated to the US in 1912 and worked as an engraver in his father’s jewelry shop. Along with NDG artist James Guy, Pandolfini was among the leadership of the Unemployed Artists Group of the John Reed Club—later to become the <a href="https://en.wikipedia.org/wiki/Artists_Union" target="_blank" rel="noopener">Artists Union</a>.  His work was exhibited in places like the Corcoran Gallery (1934); the Museum of Modern Art (1936, 1938); the Pennsylvania State Museum (1939). Underneath his NDG still life painting is a body of work directly grappling with the economic injustice of his times, as a few titles will attest: “Unemployed” (1932-37); “The Pay Line” (1938); “Night Will Fall and the Homeless Shall Be Without Shelter” (1937); and “Strafing Maneuvers” (1941). He taught painting at the Brooklyn Museum. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-1" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Pandolfini, Joseph Paul, 1906-1987 Publisher An entity responsible for making the resource available Federal Art Project1937 Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18228 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 135 Federal Art Project Joseph Pandolfini New Deal Gallery painting still life https://openvalley.org/files/original/dd2a09dda33e6a326feca4078040243a.jpg 31e5565ca90837037662aba5f0fb7470 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 Physical Dimensions The actual physical size of the original image 3264x2448 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/. Creator An entity primarily responsible for making the resource angrit Title A name given to the resource Kilgore Texas Mural Publisher An entity responsible for making the resource available Pixabay Description An account of the resource Coca Cola advertisement mural painted in Kilgore, Texas. Date A point or period of time associated with an event in the lifecycle of the resource 2016-04-15 Source A related resource from which the described resource is derived https://pixabay.com/photos/kilgore-texas-mural-advertisement-761313/ https://openvalley.org/files/original/80357356734f5fee20b79ed3cb0c76e0.jpg 8703776a0e1f763e19f20c9ac7947355 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 Physical Dimensions The actual physical size of the original image 4320x3240 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/. Creator An entity primarily responsible for making the resource Efraimstochter Title A name given to the resource Bottle in Water Publisher An entity responsible for making the resource available Pixabay Description An account of the resource Orange soda pastic bottle floating in a body of water. Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-31 Source A related resource from which the described resource is derived https://pixabay.com/photos/pollution-garbage-thrown-away-waste-359017/ https://openvalley.org/files/original/7741870cb3fc2b3f5c85947f1b2a9dc3.jpg 23075852c4f81a5cd603f877f8f099f3 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 Portrait of Edward Livingston Trudeau Description An account of the resource A photograph of Dr. Edward Livingston Trudeau (1848-1915) posing during wintertime outside his Saranac Lake Sanatorium. Creator An entity primarily responsible for making the resource Public Domain Date A point or period of time associated with an event in the lifecycle of the resource 1910 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived The World's Work Format The file format, physical medium, or dimensions of the resource jpeg, 307 KB Edward Livingston Trudeau https://openvalley.org/files/original/b49d1f28da3feff0467a8fb6b6bef2ba.png 43c66dafbcee9b6d8b637540e6942e55 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 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 Key Deer Fawn Creator An entity primarily responsible for making the resource Noni Cay Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived www.medium.com https://openvalley.org/files/original/a7e23aaabe1c5df616c4afc488c4fda7.jpg a02901c7190804a5bb887e0cb9acf57c https://openvalley.org/files/original/1e4ee79b46ad1f283c157de7a138dfb0.JPG d33d5719f61bbbef0486bfe1bccb4ad7 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 Gouache painting Physical Dimensions The actual physical size of the original image 10 x 16 in Condition: good, may have to be remounted 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 Virginia Deer Creator An entity primarily responsible for making the resource Karlan, Gertrude, 1901-1998 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 #FA18189 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB jpeg, 12.5 MB Description An account of the resource We see at close range a female of Odocoileus virginianus, also known as white-tailed deer. Their range encompasses most of the United States, and they are the most numerous of that family here. Karlan’s painting depends less upon its anatomical accuracy than the proximity at which we view a living Virginia deer; her effect is that of extending a short, but unforgettable, moment of beholding one in the wild before the deer raises its white tail in alarm, and then is gone. About the Artist: Born in New York, from a young age Karlan’s artistic endeavors cut across different forms. In the early 1920s her orchestral compositions were performed at New York’s Third Street Music School Settlement; by 1931 she was composing (and playing) avant-garde pieces written for Léon Theramin’s new electronic instrument in collaboration with modern dancer <a href="https://en.wikipedia.org/wiki/Sophia_Delza" target="_blank" rel="noopener">Sophia Delza</a>. Meanwhile she was, according to a 1927 news feature, one of the few women silversmiths in America and thinking of the decorative arts in terms of self-expression: “The rudest tribes and the most luxurious civilizations realized this fact. It is by their jewelry that we know them” (Gross). She was mentioned in Rockwell Kent’s influential Creative Art magazine, and <a href="https://openvalley.org/files/original/8f2649f799e1765c9834c91634321ea6.jpg" target="_blank" rel="noopener">several of her pieces</a> were selected for the Musuem of Modern Art’s 1946 show <a href="https://www.moma.org/calendar/exhibitions/3195?locale=en" target="_blank" rel="noopener">“Modern Handmade Jewelry”</a>. 1 work at the <a href="http://collections.madmuseum.org/objects/1354/necklace-and-earrings?ctx=3f2cd284-525f-4a8b-ac16-0e30e3b8ea93&idx=0" target="_blank" rel="noopener">Museum of Arts and Design</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-18" target="_blank" rel="noopener">FAP</a>. Source Consulted: Pearl Gross / Universal Service, “Barbaric Gems in Favor,” San Francisco Examiner 30 Oct. 1927: 42. Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 096 Federal Art Project Gertrude Karlan nature New Deal Gallery painting https://openvalley.org/files/original/cdf8d7702a61fde47610499d9d597111.jpg 5e0629f003e1a1a476d6c87bfb1d1197 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 acrylic painting Physical Dimensions The actual physical size of the original image Unknown 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 Unknown Description An account of the resource A man sits on a tree stump playing a brass tuba. Dirt and emptiness surround him except for a couple of trees in the distant background. A variety of flowers, birds, and butterflies bring color to the acrylic painting and life to the world around him. Creator An entity primarily responsible for making the resource Huynh, Duy Contributor An entity responsible for making contributions to the resource Caldwell, Julia (description) Source A related resource from which the described resource is derived <a href="https://www.tuttartpitturasculturapoesiamusica.com/2011/11/duy-huynh-1975-vietnam.html">https://www.tuttartpitturasculturapoesiamusica.com/2011/11/duy-huynh-1975-vietnam.html</a> Date A point or period of time associated with an event in the lifecycle of the resource 1975 Type The nature or genre of the resource Hyperlink Format The file format, physical medium, or dimensions of the resource 106 KB https://openvalley.org/files/original/1e195a1b9f0a6c3074de337e8c875d25.jpg 1d54ba40dd4ccea58dbc1d41c54d4cab 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 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 Children in a Tuberculosis Sanatorium Description An account of the resource A line of children lay in a row receiving treatment for tuberculosis. They are horizontal and outside, which was a part of the Brehmer method of treatment. Creator An entity primarily responsible for making the resource Public Domain Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived Finnish Museum of Photography Format The file format, physical medium, or dimensions of the resource jpeg, 442 KB new deal era treatment tuberculosis https://openvalley.org/files/original/565557d791a6d96df53279b44c5d6256.JPG 903379c0e454de948fdca6ce7545747a https://openvalley.org/files/original/0c4611dfb04118842f9fc6e41d06cb3e.JPG c0258dd83ccafe6678322e57b179d059 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: pencil marks, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chinese Jar Format The file format, physical medium, or dimensions of the resource jpeg, 925 KB jpeg, 11.6 MB Description An account of the resource A striking composition is achieved with very few objects: the painting’s eponymous vase, a few flowers and blooming limbs, a goldfish bowl, and two paintings. Carefully outlined shapes play against a scattering of colors applied thickly—even three-dimensionally—to the canvas. A branch traces the meandering line between a vivid goldfish in the bowl and equally bright flowers held by the jar. The painting at left creates a window upon some outdoor scene. About the Artist: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: Within Four Walls (1900), Children at Play (1907), The Line of Life (1916), The Gusher (1928), Fourflusher (1928), and The Angel (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York Sun 10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Sarkadi-Schuller, Leo, 1879-1947 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 #FA18260 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 167 Federal Art Project Leo Sarkadi-Schuller New Deal Gallery painting still life