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                <text>Geo. E. Walton, MD, &lt;a href="https://archive.org/details/mineralspringsof01unse/page/168" target="_blank" rel="noopener"&gt;&lt;em&gt;The Mineral Springs of the United States and Canada, with Analyses and Notes on the Prominent Spas of Europe, and a List of Sea-Side Resorts&lt;/em&gt;&lt;/a&gt; (D. Appleton and Company, 1874): following 168.&lt;br /&gt;&lt;br /&gt;Courtesy &lt;span class="value"&gt;Open Knowledge Commons and Yale University, Cushing/Whitney Medical Library, via Internet Archive&lt;/span&gt;</text>
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                <text>"In point of merit," writes Dr. George E. Walton in his survey of mineral springs, "the Saratoga waters equal, if they do not surpass, any of the kind in the world." By 1874 this village in the Upper Hudson River Valley had become a fashionable destination for (usually wealthy) individuals seeking its therapeutic mineral waters. Map of the village shows more than twenty named springs, along with many hotels, performance halls, parks--and the rail lines transporting its many visitors.</text>
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                <text>Two overlapping life-routes depict the President's journey from Hodginsville, KY to Washington, DC, and the return trip back to Springfield, IL by funeral train. After stops in New York City and Albany, it passed through upstate New York en route to Buffalo on 26 April, 1865.</text>
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                <text>Collection of five maps shows in detail the buildings, oil companies, properties, and notable wells of America's first oil boom. The series begins with Oil City, a major depot on the Allegheny River, and moves (north) upstream toward Titusville.</text>
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                <text>David Rumsey Map Collection</text>
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                <text>Public health poster created by Chicago's Municipal Tuberculosis Sanitarium depicts that disease as a collective responsibility: it depended upon everyone get a TB test. In colors leaning heavily toward the American flag, and eight children goose-stepping, it's not an exaggeration to conceive this as the moral equivalent of war.</text>
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                <text>&lt;a href="https://www.loc.gov/resource/cph.3f05207/" target="_blank" rel="noopener"&gt;Library of Congress&lt;/a&gt;</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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&#13;
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&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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                <text>&lt;p&gt;A vase of flowers is built upon four colors—yellow, orange, green, and blue—along with well-chosen accents and whites. De-differentiating marigolds into puffs of color is complemented by Kerrwood’s flattened space; slight variations of texture on the wall and table push back against formal abstraction. A Grecian vase, the painting’s only modeled object, stands distinct among color fields.&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;About the Artist&lt;/span&gt;: We haven’t located any reliable information about this artist. He may have lived in the Saratoga Springs area.&lt;/p&gt;</text>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts&#13;
&#13;
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            <description>An account of the resource</description>
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                <text>In 1992, anthropologist Jayne Howell encountered two brothers, Diodoro and Samuel Gonzalez Perez, and their cousin Avelino Gonzalez Perez at the Seneca Castle migrant farmworker camp. Their &lt;a href="https://openvalley.org/items/show/1944" target="_blank" rel="noopener"&gt;small dioramas constructed of popsicle sticks&lt;/a&gt; had specific and complex connections to their village in Chiapas, Mexico. &lt;br /&gt;&lt;br /&gt;Three years later, Geneseo Migrant Center Director Sylvia Kelly encountered Samuel at the Franjo Farm camp, teaching others his constructions. She described this object as "a large multicolored house with cantilevered double roof on each side, and a thread-hinged, swinging front door. The front wall of the house is necely decorated with a HUGE gold and blue mariposa."</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16749">
                <text>Cooper, Ken</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="16750">
                <text>Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16751">
                <text>jpeg, 1.6 MB</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="16753">
                <text>Still image</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="1603">
        <name>Arts</name>
      </tag>
      <tag tagId="1546">
        <name>Creative Artists Migrant Program Services</name>
      </tag>
      <tag tagId="1484">
        <name>Geneseo Migrant Center</name>
      </tag>
      <tag tagId="1631">
        <name>Miniatures</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
