62 10 1402 https://openvalley.org/files/original/49381f46d781d37193b0bc7b3a51c5bf.JPG 0d8df6002cb1bb0113e83c1cdabd828b https://openvalley.org/files/original/b74bcb7db79a850c83f30e7df55eb0d6.JPG cb3398f0b23592dd471bacf8d6ecba31 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 38 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource From the Mid-Country Highway Format The file format, physical medium, or dimensions of the resource jpeg, 974 KB jpeg, 13.8 MB Description An account of the resource The location of this painting isn’t clear: there’s no identifiable “mid-country highway,” and a “mid-county” highway in Maryland doesn’t seem to fit the landscape. Here, we look at hilly terrain under a cloudy sky that have rendered the mountaintops very dark. A driveway in the foreground leads to a road, whose unpaved status either renders Powell’s title somewhat ironic or implies that we are looking from a newer road upon this simpler tableau. A farm and fields is visible in the midground, and another further in the distance. The colors here all are muted fall earthtones, no blazing foliage. About the Artist: Born in Van Wert, OH, Powell traveled and painted the American landscape at a young age, a pattern followed through much of his life. At age 15 it was a trip to Portland, OR, and San Francisco, eventually resulting in his enrollment at the San Francisco School of Design. Powell later studied at the St. Louis School of Fine Arts; Académie Julian, Paris; and with the classicist <a href="https://en.wikipedia.org/wiki/%C3%89douard_Toudouze" target="_blank" rel="noopener">Édouard Toudouze</a> and portraitist <a href="https://en.wikipedia.org/wiki/Gabriel_Ferrier" target="_blank" rel="noopener">Gabriel Ferrier</a>. He painted lakes in Glacier National Park, mountains in Idaho, town squares in France, and street scenes in New York. “Every time I got a couple hundred dollars in hand I’d strike out for some new place,” he later said (“Artist”). Although Powell’s specialty was landscape paintings, sometimes he experimented with engravings, woodblock prints, or allegorical material: massive, eight-by-twelve-foot mural paintings of “Second Birth of Christ” and “The Sermon on the Mount” for the Dover Plains Methodist church. By this point Powell had made his home in Dover Plains, NY  introduced to the area by his long-time artist friends G. Glenn Newell, Harry Franklin Waltman, and Walter C. Hartson. The mountainous rural environs of Dutchess County often were the subject of their landscapes. Powell was awarded various prizes for his paintings, a member of the Salmagundi Club and in 1937 elected to the National Academy of Design. But he is perhaps best remembered in his local community, having donated paintings to schools and firehouses, mentored local artists, and served as president of the art association. Just prior to his death Dover Plains named Powell Road in his honor. 1 work at the <a href="https://emuseum.hydecollection.org/objects/4251/winter-landscape?ctx=b2865c76-5eb0-4301-89b1-6da57033bab5&idx=0" target="_blank" rel="noopener">Hyde Collection</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-35" target="_blank" rel="noopener">FAP</a>. Sources Consulted: “Dover Church Gets Painting,” Poughkeepsie Eagle-News 26 Sept. 1932: 2; “Four Artists, Close Friends and Neighbors in County, Show Paintings at Gallery,” Poughkeepsie Journal 20 Jan. 1946: 11; “ ‘Artist Should Please Himself,’ Maintains Dover Plains Painter,” Poughkeepsie Journal 21 June 1953: 6A. Creator An entity primarily responsible for making the resource Powell, Arthur J[ames] E[mery], 1864-1956 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 #FA18241 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 148 Arthur J. S. Powell Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/baa7c5e63a14be8e5380d43d9bdd465a.JPG 058b6d4bcd5eee657dd90fab246a336f 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: 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 Spring in Central Park Format The file format, physical medium, or dimensions of the resource jpeg, 901 KB Description An account of the resource Using brushstrokes and a palette resembling impressionism (verging on pointillism), Polowetski’s greens of early spring are overwhelmed by saturated shades of lavender, blue, magenta, and umber. The terrain is roughly accurate but compressed so as to emphasize the number of people enjoying a glorious day—and really it seems to be emotional accuracy that is most important here. About the Artist: Born in Bielsk, Poland, Polowetski immigrated to the US in 1892. He grew up in New York city amidst harrowing conditions; when ten years old and a ward of the Deborah Nursery and Child’s Protectory—which provided day care for poor working parents—Polowetski and two other boys were “locked in the cellar of the institution and after being flogged tied to gas pipes and left prisoners in the dark hole” (“He Flogged the Children”). Given this childhood his subsequent career is remarkable: at age sixteen he studied with <a href="https://en.wikipedia.org/wiki/Robert_Frederick_Blum" target="_blank" rel="noopener">Robert Frederick Blum</a> at the National Academy of Design, then in 1903 after receiving a scholarship with <a href="https://en.wikipedia.org/wiki/L%C3%A9on_Bonnat" target="_blank" rel="noopener">Léon Bonnat</a> at the École nationale supérieure des Beaux-Arts. In Paris <a href="https://www.tate.org.uk/art/research-publications/camden-town-group/chronology-r1107098" target="_blank" rel="noopener">he became friends</a> with painters like Bernard Gussow and Samuel Halpert, exhibited at the Salon d’Automne, and eventually maintained a studio up to and during the Great War before fleeing in 1915. Plowetski’s efforts at returning to France in 1919 reveal efforts on his behalf by fellow painters <a href="https://en.wikipedia.org/wiki/George_Elmer_Browne" target="_blank" rel="noopener">George Elmer Browne</a> and <a href="https://portsmouthhistorynotes.com/2017/04/07/oscar-miller-bristol-ferry-artist/" target="_blank" rel="noopener">Oscar Miller</a>. Polowetski was a member of the Salmagundi Club and, while in Paris, of the American Art Association. His vivid landscapes and portraits were exhibited in American venues like the Corcoran Gallery, the Salons of America, and the Pennsylvania Academy of the Fine Arts. In all likelihood he made his living as a portraitist, receiving commissions by bank officers, industrialists, university presidents, governors, and the like; among his FAP works is one of the pilot and explorer Floyd Bennett, for whom a New York airport was named. In 2008 Polowetski’s NDG painting “December in Venice,” loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. After World War II Polowetski moved to Santa Fe and began painting in the American southwest, then lived the final years of his life in California. 1 work at the <a href="https://www.npg.org.uk/collections/search/person/mp07441/charles-ezekiel-polowetski?role=art" target="_blank" rel="noopener">National Portrait Gallery, UK</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-30" target="_blank" rel="noopener">FAP</a>. Source Consulted: “He Flogged the Children,” Brooklyn Daily Eagle 5 June 1895: 12. Creator An entity primarily responsible for making the resource Polowetski, Charles Ezekiel, 1884-1955 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 #FA18243 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 150 Charles Polowetski Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/8f2412c24e91b823580d013d0c4fa12b.JPG 6c1fa7811336784b1303e161ab4d5fbf https://openvalley.org/files/original/fa55e8880307ddfe70826d8d17f942b0.JPG 954d2979534d364e1acb293fa197b0d6 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: 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 Flower Arrangement Format The file format, physical medium, or dimensions of the resource jpeg, 918 KB jpeg, 11.5 MB Description An account of the resource At upper left are the flowers of this still life’s putative title, but it still doesn’t account for the majority of Preachen’s composition. Their bright orange petals activate several objects in a similar tone (fruit, a piece of fabric, a painted ceramic dish); their green leaves are echoed in another piece of fabric, a pear, and painted leaves on the ceramic objects. But arguably the most formative arrangement is modular, grouping the objects in cells that resemble a honeycomb. Wrinkles in the fabric are geometrical rather than naturalistic. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? 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 #FA18244 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 151 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/0df5131280d2c0b88b4c4262c327a72a.JPG 2d33b2481b5dc1e75a41339718f2fc93 https://openvalley.org/files/original/34be3f6348036e20b62e26f904a6e2f4.JPG edd8caf0b7a0615679fac732512be287 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: chipped paint, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October Still Life Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 13.4 MB Description An account of the resource A vividly colored grouping avoids any appearance of symmetry or regularity of shape—even a painted plate isn’t circular. Likewise, mottling seems part of Preachen’s design as if to demonstrate that beauty can be irregular. Reds and oranges dominate in the foreground, including what may be a castor oil plant, whereas a glass, its elevated pedastal, and the backdrop shift toward blues. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? 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 1936-10 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 #FA18245 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 152 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/48f52ddedcdbbc4f09c407d199106ce9.JPG e8abd1f698519c9bdb29bd5ca9258584 https://openvalley.org/files/original/da0f89475d6ab65706117dfd570c7a38.JPG d283f7f5004227ddf8ad615ef5945cb6 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: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life on a Balcony Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 12.6 MB Description An account of the resource In its objects, archictecture, and visual style, this painting gestures back to earlier centuries of allegorical still lifes. On this side of an ornate railing, the seeming bounty is undermined by intimations of suffering (gladiolus), overconsumption (a bowl of fruit), and ephemerality (a lute). Red drapery spills upon an ornate floor. Beyond this balcony, the world, in quite a problematic state at the time. Preachen’s treatment of space renders the foreground and background discontinuous; in fact, how do we know it’s not a painting backdrop? About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? 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 #FA18246 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 153 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/7ade1c1badf3f92cc3ae97491829c936.JPG 2f1e50ce4362f340ba70e3bccf1ddd75 https://openvalley.org/files/original/e6858f95a43a39e64071374466fa6f11.JPG 6610e46a7c4469503220592e7120b059 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: pin marks, slight peeling 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 Study Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 12.3 MB Description An account of the resource This vividly colorful painting has a lot going on. As with Preachen’s “Still Life on a Balcony,” space is radically discontinuous here: flowers, table covering, fields, and sky each occupy their own flat plane; the dark brown stoneware pitcher reflects its surroundings in distorted curves. It’s not clear what plant (or flower) is depicted on the cloth. About the Artist: We haven’t located much reliable information about this artist. He appears to have lived in Elmira, NY and been married to the poet and novelist Pauline Francis Stephens. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? 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 #FA18247 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 154 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/7806b2b04e31486de517b56291332733.JPG f6a0993ce0790c7314872f232b88f6e8 https://openvalley.org/files/original/4b528c250f4c934b82abe352e7a0f402.JPG 8979ea93d635abc4b42f1d1ea737d60a 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 22.5 x 16.5 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fishkill Fields Format The file format, physical medium, or dimensions of the resource jpeg, 981 KB jpeg, 11.6 MB Description An account of the resource Using a fairly flat picture plane, Ramer uses an array of muted colors to depict a rural scene in Duchess County (mountains in the background may be the Fishkill range). The composition is balanced between an aging tree at left, a windmill at right. Between them is an area somewhat nebulous in its use; colors may indicate corn tassels, or simply overgrown fields. The building seems in good repair, however, so its effect is to serve as antipole to the largely natural landscape. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 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 #FA18248 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 156 Federal Art Project Nathaniel Ramer New Deal Gallery painting https://openvalley.org/files/original/5c9e615a8942ecbc1d0bdb5fa614cd0a.JPG 992d7dd4baa3ddaa49b66840266c1dc9 https://openvalley.org/files/original/d0f06e11658ddff7a69da8ddc3474885.JPG 2b66b84cca6d10c5c46b6e6bf6dbd2cc 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 12 x 18 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 The Lot Next Door Format The file format, physical medium, or dimensions of the resource jpeg, 839 KB jpeg, 6 MB Description An account of the resource It would appear that we’re looking at a farm—barn, silo, outbuildings, a line of trees—around haying season. So why the painting’s title? The nearest lot seems to be across a road, but fence posts run across it; if so this would be an informal farm road, not a county highway, and our proximity to the work of agriculture is even closer. Golds of haystacks stand out against lines of green. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP.</a> Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 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 #FA18249 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 156 Federal Art Project Nathaniel Ramer New Deal Gallery painting Watercolor https://openvalley.org/files/original/15e9298a829ae95fcaaffb8d3db46bec.JPG 1b8cf29b09ecff779b5c050062884589 https://openvalley.org/files/original/2789392460e20d3df050250bc2cde2fd.JPG 5f84e6574f398e62b51a632688eff099 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 17.5 x 11.5 in. Condition: slightly buckled paper 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 Woods House Format The file format, physical medium, or dimensions of the resource jpeg, 826 KB jpeg, 7.1 MB Description An account of the resource Across a field we see two small buildings next to a larger one mostly obscurred by trees at left. Given their size and delapidation, it can be inferred that the lives within the homes are humble ones—perhaps agricultural workers, given the pile of hay at right. Telephone or electrical poles are visible near a road at right, along with an unreadable sign. Ramer’s subtle composition emphasizes the things we don’t know about the woods house(s), but they’re tucked into the center of his painting. Note: the line across this painting is due to broken glass in the painting’s frame. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 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 #FA18250 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 157 Federal Art Project Nathaniel Ramer New Deal Gallery painting Watercolor https://openvalley.org/files/original/c99386530db67ae9d71df937050d3399.JPG d97365218402826e55a6cd7a25307de4 https://openvalley.org/files/original/be4ccbaac45302c6d805391db38c6928.JPG 9cdddf91487a214aefcedaf03b2f3301 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 26 x 30 in. Condition: surface dirt, slight pitting 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 Spectre of the Roses Format The file format, physical medium, or dimensions of the resource jpeg, 988 KB jpeg, 12.1 MB Description An account of the resource This painting takes its name from <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose">Le Spectre de la rose</a>, a short ballet created in 1911 by Jean-Louis Vaudoyer. In it, a young girl dreams of dancing with the spirit of a rose worn to her first ball. It was famous for the performance of legendary dancer <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose#/media/File:Vaslav_Nijinsky_in_Le_spectre_de_la_rose_1911_Royal_Opera_House.jpg">Vaslav Nijinsky</a>, who leaped through one of the two large windows pictured at the back of the stage. Reinhart’s painting carefully retains markers of its theatrical origins, from spotlights to the dancers’ costumes, from the production’s stage to instruments in the orchestra pit at front. About the Artist: Born in Baltimore, MD, Reinhart studied art at the Maryland Institute and then moved to New York City at age 21. Reinhart’s use of dance and theater as subject matter for his painting appears to have grown out of lived experience, with a strong preference for the exotic. He designed costumes and a drop curtain for <a href="https://babel.hathitrust.org/cgi/pt?id=nyp.33433042938807;view=2up;seq=60" target="_blank" rel="noopener">The Golden Doom</a>, set just before the fall of Babylon; dressed himself as a “Persian Demi-God” to win the prize for costume at Baltimore’s “Bal de Arts”; and sketched out truly incredible ideas for two “Fancy Dress Costumes.” A New York Times art critic noted around this time, after seeing Reinhart’s work at the New York Water Color Club, “a closer intimacy than used to exist between the stage and the exhibition galleries” (New York Times 5 Nov. 1916: 67). Reinhart’s earlier paintings like “Dancing Slave” (1916), “Moment Musical” (1916), and “The Ballet” (1921) anticipate the NDG’s “Specter of the Roses”—which depicts <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose" target="_blank" rel="noopener">a short ballet</a> of that name wherein the famous dancer Vaslav Nijinsky (as the spirit of a rose) leaped through a window at its conclusion. Reinhart’s work appeared in venues like the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago. In 1920 he was paired with <a href="https://en.wikipedia.org/wiki/Mark_Tobey" target="_blank" rel="noopener">Mark Tobey</a> for an exhibition at St. Mark’s Hall. Gradually, Reinhart’s attention turned towards commissioned portraits. Starting in 1947 and until his retirement in 1963, he was director of art at the Friends Seminary day school, New York. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-4" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Reinhart, Stewart, 1897-1970 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 #FA18251 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 158 Dancing Federal Art Project New Deal Gallery painting Stewart Reinhart