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                  <text>This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources.&lt;br /&gt;&lt;br /&gt;First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. &lt;br /&gt;&lt;br /&gt;Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years.&lt;br /&gt;&lt;br /&gt;Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or &lt;a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener"&gt;digitized articles from local newspapers&lt;/a&gt;. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti.</text>
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                  <text>Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell.&#13;
&#13;
Special thanks to Jessica Pacciotti at the Perry Public Library.</text>
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                <text>Celebrating its 75th year of operation, the largest employer invited Perry townspeople for a two-hour tour of its facilities, during which 1,000 employers were at work to demonstrate the machines. There were refreshments and live flamingos. This eight-page pamphlet appears to have aided in a walking tour, with short, accessible descriptions and fanciful line drawings of children frolicking in "Nitey Nite" brand sleepwear. &lt;br /&gt;&lt;br /&gt;Another possible reason for the tour is hinted at in a news story describing how "Part of the reason for the open house was to attempt to interest some people in working at the plant" (Perry &lt;em&gt;Herald &lt;/em&gt;28 May 1953: 1).&lt;br /&gt;&lt;br /&gt;This item consists of a cover photograph and a pdf file of the program's contents.</text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                <text>Archives of American Art&lt;br /&gt;&#13;
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&#13;
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          <name>Physical Dimensions</name>
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              <text>24 x 30 in.</text>
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              <text>Condition: surface dirt</text>
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        <name>Dublin Core</name>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Spring in Central Park</text>
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            <name>Format</name>
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                <text>jpeg, 901 KB</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>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.&lt;span style="text-decoration: underline;"&gt;&lt;br /&gt;&lt;br /&gt;About the&lt;/span&gt; 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 &lt;a href="https://en.wikipedia.org/wiki/Robert_Frederick_Blum" target="_blank" rel="noopener"&gt;Robert Frederick Blum&lt;/a&gt; at the National Academy of Design, then in 1903 after receiving a scholarship with &lt;a href="https://en.wikipedia.org/wiki/L%C3%A9on_Bonnat" target="_blank" rel="noopener"&gt;Léon Bonnat&lt;/a&gt; at the École nationale supérieure des Beaux-Arts. In Paris &lt;a href="https://www.tate.org.uk/art/research-publications/camden-town-group/chronology-r1107098" target="_blank" rel="noopener"&gt;he became friends&lt;/a&gt; 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 &lt;a href="https://en.wikipedia.org/wiki/George_Elmer_Browne" target="_blank" rel="noopener"&gt;George Elmer Browne&lt;/a&gt; and &lt;a href="https://portsmouthhistorynotes.com/2017/04/07/oscar-miller-bristol-ferry-artist/" target="_blank" rel="noopener"&gt;Oscar Miller&lt;/a&gt;. 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, &lt;a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener"&gt;was stolen&lt;/a&gt; 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 &lt;a href="https://www.npg.org.uk/collections/search/person/mp07441/charles-ezekiel-polowetski?role=art" target="_blank" rel="noopener"&gt;National Portrait Gallery, UK&lt;/a&gt;. 5 more images at &lt;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"&gt;FAP&lt;/a&gt;.&#13;
&lt;p&gt;&lt;span style="text-decoration: underline;"&gt;Source Consulted&lt;/span&gt;: “He Flogged the Children,” &lt;em&gt;Brooklyn Daily Eagle&lt;/em&gt; 5 June 1895: 12.&lt;/p&gt;</text>
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            <name>Creator</name>
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                <text>Polowetski, Charles Ezekiel, 1884-1955</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Federal Art Project</text>
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            <name>Date</name>
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                <text>1936</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Ritz, Abigail (photography) &lt;br /&gt;&lt;br /&gt;Cooper, Ken (biography)</text>
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            <name>Source</name>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts &lt;br /&gt;&lt;br /&gt;Object #FA18243</text>
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            <name>Type</name>
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                <text>Still image</text>
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          <element elementId="43">
            <name>Identifier</name>
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                <text>150</text>
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        <name>Charles Polowetski</name>
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        <name>Federal Art Project</name>
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        <name>Landscape Art</name>
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        <name>New Deal Gallery</name>
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        <name>painting</name>
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