66 10 1402 https://openvalley.org/files/original/9ad3547b7b92c8eee72dbb7f4600b1d7.jpg cdca4e445c0f177b6eb3d8f35eee5ca3 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 Book engraving 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 Pedigree of Man Format The file format, physical medium, or dimensions of the resource jpeg, 979 KB Description An account of the resource Ernst Haeckel was an important 19th-century biologist, especially in describing the relations and connections between different organisms. He was, in fact, inventor of the term ecology--the study of nature's "household." For his 1879 book The Evolution of Man, he devised this figurative tree showing animal life on earth that preserved hierarchical assumptions predating Darwin. At the tree's pinnacle, or rather crown we are assured that evolution has been working toward the creation of humanity. Creator An entity primarily responsible for making the resource Haeckel, Ernst Heinrich Philipp August, 1834-1919 Publisher An entity responsible for making the resource available Wikimedia Commons Date A point or period of time associated with an event in the lifecycle of the resource 1897 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ernst Haeckel, The Evolution of Man: A Popular Exposition of the Principal Points of Human Ontogeny and Phylogeny (D. Appleton, 1897): 219. <a href="https://archive.org/details/evolutionofmanpo021897haec/page/n218" target="_blank" rel="noopener">Web version at Internet Archive.</a> Type The nature or genre of the resource Still image diagram Ernst Haeckel Evolution Green New Deal Tree of Life https://openvalley.org/files/original/5d18dd0544eb9d8ab0f77e3335cfd23a.JPG dfddf0b6b8e22862a4b6153a3c41dcd0 https://openvalley.org/files/original/2334f01a05b2013028973f9885c31a7b.JPG fd6d7e73840fd4f4a343a4f49843b583 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: canvas torn, 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 Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 805 KB jpeg, 14.2 MB Description An account of the resource Under a pale sky, we look uphill along a crooked line of split-rail fences and melting snow toward a pair of dormant trees and farm buildings. Bolton’s close attention to Catskill landscapes is apparent in his treatment of patterns in melting snow; his training in sculpture gives the saturated drifts convincing solidity. Interestingly, he paints one of the buildings and the hillside using a virtually identical color, as if to draw greater attention to forms. Poking up through the snow are what appear to be plant shoots in the same color. About the Artist: Born in Wallingford, CT, Bolton studied sculpture at Yale’s School of Fine Artis beginning in 1913. After visiting a friend in Woodstock, Bolton concluded it was where he belonged; his emphasis changed to the visual arts, although still retaining a sense of form and mass that was one of his work’s most distinctive characteristics. Over the years he was productive in painting, woodcuts, linoprints, and lithography. His work was exhibited in fine arts venues like the Corcoran Gallery and the Art Institute of Chicago while still retaining popular appeal—for example, self-published collections of Christmas cards. During many years of Woodstock Artists Association shows, his work appeared alongside NDG artists like Erna Lang, John Nichols, and Jo Rollo. In 1937 he assisted Charles Rosen in the <a href="https://livingnewdeal.org/projects/post-office-mural-beacon-ny/" target="_blank" rel="noopener">painting of several murals</a> for the Beacon, NY post office. 8 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Bolton%2C%20Clarence/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 9 works at the <a href="https://gallery.newarkmuseum.org/view/people/asitem/Objects@2526656/0/displayName-asc?t:state:flow=90cd978a-9309-40ba-b9bb-40a1b492ae24" target="_blank" rel="noopener">Newark Museum</a>. 2 works at the Metropolitan Museum of Art. Creator An entity primarily responsible for making the resource Bolton, Clarence [Wheeler], 1893-1962 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 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 #FA18872 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 210 Clarence Bolton Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/552760dde42f537f810cc5240215d37e.JPG b043669d5c3e2290df667e46a5dcc24e 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 21.5 x 17.5 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 Fruit and Drapery Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource This complex still life plays with how the natural world makes its way into artistic forms and representation. A grouping of fruit at upper left is echoed in the fabric’s shapes at lower right, as with the bell pepper’s distinctive shape. A pear at middle right is easy to overlook because its colors blend in. Meanwhile, a ceramic teapot is painted with its own colors and floral designs (referenced in another fabric). There are three distinct pieces of cloth, whose patterns multiply by reversal and draping. In the background is either a painting of sky upon the wall, or Kovner’s painted sky for this composition. About the Artist: Born in Rogachov, Russia, Kovner—who painted under the name “Saul”—immigrated with his parents in either in 1911 or 1912 to New York. He studied there at the National Academy of Design with <a href="https://en.wikipedia.org/wiki/Charles_Webster_Hawthorne" target="_blank" rel="noopener">Charles Hawthorne</a> and <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a>. Kovner then set up a studio near Central Park, whose gregarious crowds seem to have influenced many of his works, regardless of their unflinching looks at poverty. In 1935, Kovner was one of three WPA artists assisting James Michael Newell on <a href="https://livingnewdeal.org/projects/evander-childs-high-school-mural-bronx-ny/" target="_blank" rel="noopener">The Evolution of Western Civilization</a>—a massive, 12-panel fresco at Evander Childs High School in the Bronx. Kovner moved to Burbank, CA in the late 1940s and remained there until his death. 6 works at <a href="https://americanart.si.edu/artist/saul-kovner-2702" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://www.dia.org/art/collection?keys=kovner&keyword=&start=&end=&sort_bef_combine=search_api_aggregation_6+ASC&Submit+Collection+Search=Search+Collection" target="_blank" rel="noopener">Detroit Institute of Arts</a>. 1 work at <a href="http://collection.whitney.org/object/4903" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 3 works at <a href="https://www.nga.gov/collection-search-result.html?artist=Kovner%2C%20Saul" target="_blank" rel="noopener">National Gallery of Art</a>. 1 work at the <a href="https://gallery.newarkmuseum.org/media/view/Objects/3073519/595685?t:state:flow=6f524d60-9569-439c-b346-e757c9208e43" target="_blank" rel="noopener">Newark Museum</a>. 1 work at <a href="https://artmuseum.princeton.edu/collections/objects/3676" target="_blank" rel="noopener">Princeton University Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-13-folder-8" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Kovner, Saul, 1904-1982 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 #FA18192 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 099 Federal Art Project New Deal Gallery painting Saul Kovner still life https://openvalley.org/files/original/097be0b3931c34d2fe186b031ac45cec.JPG d0e7d73cb6fc329b4966bd7ea76c71f8 https://openvalley.org/files/original/5f739c6466d75ca45dc06c8eb04ffac5.jpg a064fe78ce52ce404073cd3a8917c0bb 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 16 X 20 in. Condition: flaking 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 Peonies Description An account of the resource The focus of the still life painting is a vase of multicolored peonies. Spector shows skillful creation of the 3D geometric forms of the flower petals and vase, with a light source coming from the bottom right. The background is unusual in its abstraction, it suggests the idea of a corner of a room. It uses the same color palette as the flowers, with thin paint and visible brush strokes. About the Artist: About the Artist: Little is known about George Spector. He was a Russian immigrant to the United States and lived in the New York City area. Between 1913 and 1914 he got a diploma from the Cooper Union Night School of Art and received recognition for the category “Drawing from Life.” Given Spector's grasp of detail and three dimensional modeling, it seems possible that he had formal art training prior to the Cooper Union. He exhibited at the Salons of America in 1926 and 1927. 2 works at the <a href="https://www.nga.gov/collection/artist-info.8083.html?artobj_artistId=8083&sortOrder=CHRONOLOGICAL&pageNumber=1&lastFacet=sortOrder" target="_blank" rel="noopener">Index of American Design</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-35" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Spector, George 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) McCrohan, Niamh (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 #FA18271 Format The file format, physical medium, or dimensions of the resource jpeg, 934 KB jpeg, 4.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 178 Federal Art Project George Spector New Deal Gallery painting still life https://openvalley.org/files/original/aa8bd4fed3c3f7aaeca1d7dbf96f5ae4.JPG 522bce62143e211fc242d295a221ab49 https://openvalley.org/files/original/b9dbbc1e6f6e453d5f5d58901fdf2dd3.JPG 1b93833950e4c2f8ad53f863d4b8fdd8 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: small tears, pin holes 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 Leeds Bridge Format The file format, physical medium, or dimensions of the resource jpeg, 961 KB jpeg, 12 MB Description An account of the resource Portions of the stone bridge depicted here date to 1760, when a wooden structure over Catskill Creek (in Greene County) collapsed; the rest was completed in 1792 and remains standing today. Lomoff renders virtually no straight lines in his painting, whose natural features all appear to be in gently waving motion—arguably including the bridge itself. Foliage grows on the structure, its stones are the same color as those in the river bed, and its arches subtly echo those of trees and mountains in the distance. Still waters create a reflection whose effect is to create a pair of portals through to some other side. About the Artist: Born in Sevastpool, Russia, Lomoff traveled to the US in 1912 and immigrated for good in 1925, where he found employment as (among other jobs) a sign painter. His Futurist-influenced works like “Mystery” and “Legend of Atlantis” began to appear in group shows by the late 1920s. Lomoff’s exhibited numerous times with the Society of Independent Artists between the mid-1920s and early 1940s. In 1934, as part of the Public Works of Art Project, he painted a mural titled “Nursery Tales” in the Children’s Hopital on Charity Island (now named Roosevelt Island). A visitor noted that “Upon a single panel you will often find as many as three or four artists working at the same time in a spirit of unimpeachable cooperation...the old guild idea, adapted to modern usage” (Jewell). In 1937, amidst Congressional cuts to the Federal Arts Project, he was among those painters  showing at a “Pink Slip Exhibition” in New York City. Subsequently, “Toilers of the Sea” appeared at the Brooklyn Museum (1943), and he was part of an innovative 1946 exhibit at Loew’s Mayfair Theatre in Times Square—which had been organized following Thomas Hart Benton’s statement that art should be in public places and not “buried in mausoleum-like art galleries.” A 1971 retrospective of his painting might well describe his NDG landscape: “The mystic element became strong, rocks and hills taking on human form, until each animistic landscape was alive with the impress of dark figures” (O’Doherty). 10 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/4052/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-14-folder-19" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edward Alden Jewell, “The Waxing Mural Tide,” New York Times 19 August 1934: 133; Brian O’Doherty, “Dual Show at Riverside Museum,” New York Times 7 June 1961: 45. Creator An entity primarily responsible for making the resource Lomoff, Joseph, 1899-1956 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 #FA18199 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 106 Catskill Creek Federal Art Project Joseph Lomoff Landscape Art Leeds Bridge New Deal Gallery painting https://openvalley.org/files/original/4112ddbbd56cbc70dd4a8fd302673c80.MOV f2fb6af27f0fc4c372c84e703c737268 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 Letchworth Lower Falls Description An account of the resource Original video. I wanted to show the stunning volume and force of water going over the falls, with crushing white water below. Part of Genesee river. Creator An entity primarily responsible for making the resource McCrohan, Niamh Date A point or period of time associated with an event in the lifecycle of the resource April 6, 2019. 2:20 pm Format The file format, physical medium, or dimensions of the resource .MOV file, 14.2 MB Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Transcription Any written text transcribed from a sound sound of moving water Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Letchworth Lower Falls April 6 2019 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 7 seconds Producer Name (or names) of the person who produced the video Niamh McCrohan 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 Letchworth Lower Falls Creator An entity primarily responsible for making the resource McCrohan, Niamh Description An account of the resource Original video capturing the stunning force and volume of the Letchworth Lower Falls Date A point or period of time associated with an event in the lifecycle of the resource April 6, 2019. 2:20 pm Format The file format, physical medium, or dimensions of the resource .MOV, 14.2 MB https://openvalley.org/files/original/210d516c09d27718e9f9beef258dd461.JPG b1ef0805781cfdd6c9f55071ded55d7b https://openvalley.org/files/original/02d7a0f967615e7243fa69007ee9bdce.JPG 493ac12901b055e7bd80d403eef7b67f 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 13 x 21 in. Condition: surface dirt, scratched slightly 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 American Wood Cock Description An account of the resource A pair of woodcocks is pictured somewhat outside of their preferred grassy habitat, beside a cozy opening in a tree trunk. Although they often are associated with spring, the presence of freshly fallen leaves seems to indicate a moment just prior to their migration away from this scene. Hand-written at the bottom of the watercolor are Nakamizo’s poetic words: “A game bird that is not distrubed by the agriculture. Bird would come silently some April night, and from it then would disappear some October.” About the Artist: Born in Fukui Prefecture, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this lithograph of <a href="https://openvalley.org/items/show/2196" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since he was confined at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nakamizo, Fuji, 1889-1950 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-08-24 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18219 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 10 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 126 Federal Art Project Fuji Nakamizo New Deal Gallery painting Watercolor https://openvalley.org/files/original/3f54040632d3dd864d08036af7a97c23.png 3a1c956f54cee60ed093852a07441c2b 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 Letchworth State Park Upper Falls Creator An entity primarily responsible for making the resource Joyce Everingham Publisher An entity responsible for making the resource available public domain Date A point or period of time associated with an event in the lifecycle of the resource 1935 Source A related resource from which the described resource is derived letchworthparkhistory.com https://openvalley.org/files/original/407aa50198b548a06190d6ff49fc855f.png 78806178325dcfe05a91bacb53758a22 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 Upper Falls Under the Portage Bridge Publisher An entity responsible for making the resource available public domain Creator An entity primarily responsible for making the resource Laurie Tracy Source A related resource from which the described resource is derived www.pixels.com Date A point or period of time associated with an event in the lifecycle of the resource 2014 https://openvalley.org/files/original/bf020072820b37c14e68cdaaa0cdb53e.png 939cca3e646baef01588d6225a47a201 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 Sheepshead Bay, Brooklyn, current Publisher An entity responsible for making the resource available public domain Creator An entity primarily responsible for making the resource unknown Source A related resource from which the described resource is derived www.viewing.nyc