64 10 1402 https://openvalley.org/files/original/9e5deaa3739a27a45c37fa4d550febc7.jpg ab28fa6f7feea7905fbdf6a75c881b4c 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: 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 Small Town, NY 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, biography)  Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18374 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Description An account of the resource Although a train platform in the foreground bears the name “Small Town,” the frame of Yaghjian’s painting had referenced <a href="https://en.wikipedia.org/wiki/Beacon,_New_York" target="_blank" rel="noopener">Beacon, NY</a> before getting crossed out in favor of this more universal theme. We are invited to ascend a wooden stairway into a quaint town whose buildings are arrayed upon its hillside: a brick commercial building near the tracks, a church and more ornate homes higher up. Warm earthtones and green foliage predominate. Small traces of the forces that would transform such towns lurk at the corners of the painting, like telephone wires or an automobile at lower right. About the Artist: Born in Harpoot, Armenia, Yaghjian immigrated to the US with his family in 1907 and was raised in Providence, RI. He attended the Rhode Island School of Design on scholarship and received a BA in Fine Arts in 1930.  He then continued his studies with the Art Students League, where he met <a href="https://en.wikipedia.org/wiki/John_French_Sloan" target="_blank" rel="noopener">John French Sloan</a> and <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>, both significant influences upon his work. His work was exhibited at the Metropolitan Museum of Art, the Corcoran Gallery, the National Gallery, and many other venues; he was the subject of numerous solo shows. At the 1936 Whitney Biennial, Anita Brenner grouped him with artists like Edward Hopper and NDG artist Dorothy Varian in their use of colors that are “dominant in most American landscapes, intense, precise and small within great space and immense sky.” Some of his most important contributions came as an art teacher, initially for the Art Students League in New York (1938-1943), then briefly at the University of Missouri. In 1945 Yaghjian was hired to head the art faculty at the University of South Carolina, where he taught until retirement in 1972. He was known for painting scenes from everyday life, both in New York and in South Carolina; while he continually painted his surroundings, his style shifted throughout his career from realism to stylized abstraction to abstraction. He lived in Columbia for the rest of his life, where he still was dancing two nights a week at the age of 85. 1 work at the <a href="https://americanart.si.edu/artist/edmund-yaghjian-5506" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://gibbesmuseum.pastperfectonline.com/webobject/49EFFAFD-128B-45BC-BC3B-292859903974" target="_blank" rel="noopener">Gibbs Museum of Art</a>. 1 work at the <a href="https://chrysler.emuseum.com/search/Yaghjian" target="_blank" rel="noopener">Chrysler Museum</a> of Art. 1 work at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-33" target="_blank" rel="noopener">FAP</a>. <a href="http://digital.tcl.sc.edu/cdm/ref/collection/savage/id/127" target="_blank" rel="noopener">Oral history interview</a> at University of South Carolina. Sources Consulted: Anita Brenner, “Younger Generation at Whitney Biennial,” Brooklyn Daily Eagle 15 Nov. 1936: 10C; South Carolina State Museum, <a href="http://www.tfaoi.org/aa/7aa/7aa926.htm" target="_blank" rel="noopener">“Edmund Yaghjian: A Retrospective”</a> (16 March-16 September, 1997). Creator An entity primarily responsible for making the resource Yaghjian, Edmund, 1903-1997 Identifier An unambiguous reference to the resource within a given context 202 Beacon, NY Edmund Yaghjian Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/0148c5cc8c20c43d0f4ec34bf4fe413a.jpg fb8b18acf3c482ff07b9da7704b18ef5 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 Relics Skagway Alaska Description An account of the resource About the Artist: Lo Pinto was the son of Italian immigrants in New York City, his father a physician. After attending the National Academy of Design and taking classes at the Art Students League, he exhibited at venues like the Metropolitan Museum of Arts, the De Young Memorial Museum, the Corcoran Gallery, and the Carnegie Institute, and the Art Institute of Chicago. Lo Pinto also studied with the sculptor<a href="https://en.wikipedia.org/wiki/David_Smith_(sculptor)"> David Smith</a>, whose geometric designs appear to have influenced his NDG painting. Lo Pinto’s landscape “Evening” received favorable mention at a Federal Art Project show in 1937. In 1937 he was one of a dozen artists who traveled to Alaska under WPA auspices resulting, in addition to several paintings, numerous illustrations for Merle Colby’s<a href="https://archive.org/stream/alaskaguidetolas00writrich#page/n6/mode/1up"> Alaska: A Guide to Last American Frontier</a>. During the 1930s Lo Pinto created two murals: one for the “Hall of Man” at the 1939 World’s Fair at New York, the other for the Federal Courthouse in Anchorage, AK. He also created several stage sets for the Federal Theater Project in New York. Lo Pinto relocated to Allentown, PA during the 1950s and seems to have begun work for Hess’s department stores as a designer. 1 work at<a href="https://americanart.si.edu/artist/ferdinand-lo-pinto-2994"> Smithsonian American Art Museum</a>. 14 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22"> FAP</a>.         Source consulted: Archives of askART, including family papers courtesy of the artist's niece, Kathleen Lo Pinto Vignolini Creator An entity primarily responsible for making the resource Lo Pinto, Ferdinand, 1906-1980 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 1938-6-29 Contributor An entity responsible for making contributions to the resource Anderson, Justin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New York City W.P.A. Art Project Photography Division 110 King Street Accessed at:<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22">https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-22</a> Format The file format, physical medium, or dimensions of the resource jpeg, 218 KB Type The nature or genre of the resource Photograph of a Painting https://openvalley.org/files/original/9106a4238def5d93d0ae296133028215.JPG 398d5b9ae1dfb2b1753b5fa015bd747a https://openvalley.org/files/original/7b4c0dfef73462de8a63de7362632284.JPG 586c89731f0df85ba4705b91b0913cfa https://openvalley.org/files/original/224661772d8e6972898c024d6ab314d8.jpg 0448bed6d0970ab894e863acb72bce6b https://openvalley.org/files/original/d8d47ab526f8f27c8819f58487ae7a82.jpg 185ab701776a62304d7185061a3edcc9 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 paintin Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tunnel by the Hudson Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 17.8 MB jpeg, 363 KB Description An account of the resource Against a cool background of blue-grays and white, we see a hillside of innumerable colors flowing downhill in nearly a molten state. In contrast to Fastovsky’s general blending technique are several smaller clusters of intensely pointilized colors—at lower left, for example. Even a telephone pole draws upon this for its green insulators, and the dreamy fluidity of landscape, house, and rail infrastructure is very attractive. It's possible that the location for this painting is the Breakneck Ridge rail tunnel, in which case there may be a kind of hidden joke: the building shown is an access point down into the Catskill Aqueduct, whose waters cross from Storm King (on the west side of the Hudson) to Breakneck Ridge (on the east), by way of a deep tunnel underneath the river. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 #FA18148 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 058 Federal Art Project Hudson River Isaac Fastovsky landscape New Deal Gallery painting Railroads https://openvalley.org/files/original/1645b45d6816dfbdfd716a1b285b67fe.JPG b39b4c13aa0c995f9c1721ce133fadd4 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 on Canvas Physical Dimensions The actual physical size of the original image 26 x 20 in. Condition: surface dirt, crayon or pencil marks 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 Fountain, Central Park Description An account of the resource Depicted is the landmark Bethesda Fountain located in New York City's Central Park. The fountain is adorned by a bronze statue with small figures that appear to support the winged figure. Bethesda is a biblical reference to a pool that is believed to have had healing powers, so its use for a fountain's name has great significance. The warm colors and large brush strokes give this painting a sense of importance that is associated with being in Central Park--a location not far from Zucker's home in New York. About the Artist: Born in Radom, Poland, at age thirteen Zucker ran away from home, traveling by himself to study at the Bezalel Art School in Palestine. After serving with the Royal Fusilliers of England during World War I, he spent time in the Paris art scene before immigrating to the US in 1922. Here he first worked as a maker of fine jewelry; eventually, he was successful as a painter with studios in New York and Paris. Zucker counted as influences the French Romantics Pierre-Auguste Renoir and <a href="https://en.wikipedia.org/wiki/Jean-Antoine_Watteau" target="_blank" rel="noopener">Jean-Antoine Watteau</a>, along with contemporaries <a href="https://en.wikipedia.org/wiki/Maurice_Utrillo" target="_blank" rel="noopener">Maurice Utrillo</a> and <a href="https://en.wikipedia.org/wiki/Chaim_Soutine" target="_blank" rel="noopener">Chaim Soutine</a>. He observed that, in Europe, artists know that a landscape has been painted many times, but in America “I feel liberated, unburdened by the weight of artistic precedent” (Salpeter). Zucker’s work was shown at places like the Art Institute of Chicago, the Whitney Museum, and the Cheshire Gallery, as well as the Bonaparte and Paquereau Galleries in Paris. 5 more images at the <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-49" target="_blank" rel="noopener">FAP</a>; 1 statue at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-48" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Harry Salpeter, <a href="http://archive.esquire.com/article/1938/10/1/jacques-zucker-modern-romantic" target="_blank" rel="noopener">“Jacques Zucker: Modern Romantic,”</a> Esquire Oct. 1938: 59+. Dan Wolman, director, <a href="https://youtu.be/BceCvihjQ28" target="_blank" rel="noopener">Jacques Zucker: Modern Romantic</a> (film short). Creator An entity primarily responsible for making the resource Zucker, Jacques, 1900-1981 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) Serbalik, John (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18376 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 204 allocations Central Park Federal Art Project fountain Jacques Zucker New Deal Gallery new york city New York, NY https://openvalley.org/files/original/e983708e477c8a9efa79c5d1313f4852.jpg ae5f382df08eea474979389f19506aba 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 Jacques Zucker Allocations https://openvalley.org/files/original/06c2b4a8ccb31b841b5dc5a3abff67c2.png 15154017b1bca747aa68c9c14e4a1f80 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 Crab in a Plastic Cup Description An account of the resource A crab is floating in a plastic cup in the ocean Creator An entity primarily responsible for making the resource Noel Guevara Publisher An entity responsible for making the resource available National Geographic Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-15 https://openvalley.org/files/original/40c9ffd8ed8f0660376b576895d32fd9.png 643e84896ccb4dfe6c09adcce31253ae 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 Tree on city balcony Description An account of the resource A tree amongst the balconies of a city Creator An entity primarily responsible for making the resource Carolina G. Paris Publisher An entity responsible for making the resource available National Geographic Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-15 https://openvalley.org/files/original/f66ff23b32910612abe5930facba3a4f.jpg 07fd3b0ef35fcf31f7cf2993a8df5bd5 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 Bear amongst pollution Description An account of the resource A polar bear sits amongst pollution Creator An entity primarily responsible for making the resource Steppes Travel https://openvalley.org/files/original/1b36296bc657376a25481574f4cbc515.jpg 9c4683b5a6c7012828f2351a1c45ab74 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 H.D. Thoreau (1861) Description An account of the resource A portrait of Henry David Thoreau, taken in 1861. Creator An entity primarily responsible for making the resource Parlow, Geo., F. Publisher An entity responsible for making the resource available Library of Congress Date A point or period of time associated with an event in the lifecycle of the resource 1861 Contributor An entity responsible for making contributions to the resource Noel, Ricky Source A related resource from which the described resource is derived Library of Congress Format The file format, physical medium, or dimensions of the resource jpeg, 0.6 MB Type The nature or genre of the resource Image https://openvalley.org/files/original/ce01dbff627a52ae5ac5b5004ab74cd1.JPG a1c65c056fd13f09c602dfa890650fb8 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 11.5 x 16.5 in. Condition: paper buckled Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flowers and Fruit Format The file format, physical medium, or dimensions of the resource jpeg, 696 KB Description An account of the resource Some elements of this watercolor are abstract and patterned: the green leaves at left, the tablecloth, wallpaper background, and even the vase’s outline. Other elements, however, show careful attention to modeling and texture, like the orange. Palter seems to be allotting differing levels of detail in this extemporaneous composition: she retains her pencilled outlines and at times uses broad strokes; in certain places her attention focuses to verisimilitude. About the Artist: We haven’t located much reliable information about this artist. Palter graduated from Girls Commercial High School, Brooklyn, in 1929. Her paintings were exhibited in a 1938 FAP show in Flushing, NY along with NDG artist Henry Kallem. She married the abstract painter <a href="https://americanart.si.edu/artist/albert-swinden-4724">Albert Swinden</a>—also a <a href="https://livingnewdeal.org/artists/albert-swinden/">Federal Art Project artist</a>—and their daughter Alice Swinden Carter went on to become a sculptor in her own right. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-44">FAP</a>. Creator An entity primarily responsible for making the resource Palter, Rebecca, 1912-1998 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 #FA23837 Federal Art Project New Deal Gallery painting Rebecca Palter still life Watercolor