67 10 1402 https://openvalley.org/files/original/72d299548dc110f9a1b3da066064e54c.jpg 9baf94d5b1d41bd825b35830a0dfd841 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 Photograph Physical Dimensions The actual physical size of the original image Oil painting: 30 x 24 in. Photograph: 6 x 4 in. Condition: stolen 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 December in Venice Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Description An account of the resource In 2008 this painting, loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. The digital image shown here has been scanned from a photographic print. Although the location of this bridge is not known—there are some 400 in Venice—it evokes a pleasing range of saturated and pale colors, sunlit highlights and shadowy walkways. On the canal we see a gondolier and three red and white pali da casada (“poles of the family”) marking a distinct location. Everything a view might want of Venice is here in Polowetski’s painting. About the Artist: Born in Bielsk, Poland, Polowetski immigrated to the US in 1892. He grew up in New York city amidst harrowing conditions; when ten years old and a ward of the Deborah Nursery and Child’s Protectory—which provided day care for poor working parents—Polowetski and two other boys were “locked in the cellar of the institution and after being flogged tied to gas pipes and left prisoners in the dark hole” (“He Flogged the Children”). Given this childhood his subsequent career is remarkable: at age sixteen he studied with <a href="https://en.wikipedia.org/wiki/Robert_Frederick_Blum" target="_blank" rel="noopener">Robert Frederick Blum</a> at the National Academy of Design, then in 1903 after receiving a scholarship with <a href="https://en.wikipedia.org/wiki/L%C3%A9on_Bonnat" target="_blank" rel="noopener">Léon Bonnat</a> at the École nationale supérieure des Beaux-Arts. In Paris <a href="https://www.tate.org.uk/art/research-publications/camden-town-group/chronology-r1107098" target="_blank" rel="noopener">he became friends</a> with painters like Bernard Gussow and Samuel Halpert, exhibited at the Salon d’Automne, and eventually maintained a studio up to and during the Great War before fleeing in 1915. Plowetski’s efforts at returning to France in 1919 reveal efforts on his behalf by fellow painters <a href="https://en.wikipedia.org/wiki/George_Elmer_Browne" target="_blank" rel="noopener">George Elmer Browne</a> and <a href="https://portsmouthhistorynotes.com/2017/04/07/oscar-miller-bristol-ferry-artist/" target="_blank" rel="noopener">Oscar Miller</a>. Polowetski was a member of the Salmagundi Club and, while in Paris, of the American Art Association. His vivid landscapes and portraits were exhibited in American venues like the Corcoran Gallery, the Salons of America, and the Pennsylvania Academy of the Fine Arts. In all likelihood he made his living as a portraitist, receiving commissions by bank officers, industrialists, university presidents, governors, and the like; among his FAP works is one of the pilot and explorer Floyd Bennett, for whom a New York airport was named. In 2008 Polowetski’s NDG painting “December in Venice,” loaned for exhibition at the Mills Mansion, Mt. Morris, <a href="https://www.nbcwashington.com/investigations/Depression-Treasures-Hunting-for-WPA-Paintings-275523541.html" target="_blank" rel="noopener">was stolen</a> and has yet to be recovered. After World War II Polowetski moved to Santa Fe and began painting in the American southwest, then lived the final years of his life in California. 1 work at the <a href="https://www.npg.org.uk/collections/search/person/mp07441/charles-ezekiel-polowetski?role=art" target="_blank" rel="noopener">National Portrait Gallery, UK</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Polowetski, Charles Ezekiel, 1884-1955 Publisher An entity responsible for making the resource available Federal Art Gallery 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 #FA18242 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 149 Charles Polowetski Federal Art Project New Deal Gallery painting Venice, Italy https://openvalley.org/files/original/cc8f1382ca8047ec1bd94d5d9382e808.jpg 6aafc7f5fdfc9c80c7d923aca0e6311b https://openvalley.org/files/original/ad3ad53584ddea18958c56298af48638.jpg 5464c36a85afef43575d6f73c6130b68 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 Wood engraving Physical Dimensions The actual physical size of the original image Sheet: 9 x 7 1/2 in. Image:6 x 4 in. 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 Ash Heap '19 Westinghouse '39 Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1MB Creator An entity primarily responsible for making the resource Pont, Charles E[rnest], 1898 - 1971 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 1939 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 1385 Type The nature or genre of the resource Still image Description An account of the resource This otherworldly woodcut is set in a real-world location: the Corona ash dump in Flushing Meadows, Queens. Originally the site of a proposed new industrial port in the early 20th century, its owner imported trainloads of ash from Manhattan to fill in marshlands—an estimated 50 million cubic yards, averaging thirty feet in height. When that scheme failed and residential housing expanded into the area, it became harder to ignore the <a href="https://en.wikipedia.org/wiki/Flushing_Meadows%E2%80%93Corona_Park#/media/File:Valley_of_Ashes.jpg" target="_blank" rel="noopener">stark contrast</a> between All-American homes and the Corona dump, which was the model for F. Scott Fitzgerald’s “Valley of the Ashes” in his novel The Great Gatsby (1925). Pont strips away most of the area’s details to create topographic forms with patterned lines, seemingly alive beneath the tiny trains riding over them. The print’s extreme contrast in lighting, especially overhead, creates an apocalyptic tone to the scene. One person in the foreground carries a large bag, perhaps alluding to the removal of encampments (by bulldozers) during a redevelopment program in 1938-39. New York Parks Commissioner Robert Moses created a 900-acre site that included grounds for the 1939 World’s Fair, whose theme was “The World of Tomorrow.” Pont’s title probably alludes to one of the fair’s corporate participants: Westinghouse built a “Hall of Electrical Living” that it called “a forecast of the future as foretold by the industrial and technical developments of today” (Official Guide Book 156). In the hands of the evangelical Pont, however, the promise of technological new ages are built upon the ashes of earlier ones. Compare this woodcut to Pont’s similar <a href="https://digital.wolfsonian.org/node/67481" target="_blank" rel="noopener">Corona Ash Dump '29 World's Fair Food Section '39</a>. About the Artist Born in Saint-Julien-en-Genevois, France, Pont was abandoned by his mother at three months old in New York City and raised by a German immigrant couple. Like many children during those times, he was working by age fifteen in a variety of jobs. A serious illness in 1918—he was given six months to live—led Pont to become a born-again Christian; thereafter, his religious studies and eventual ministries melded with an exceptional artistic talent. As a book jacket described, he “entered into an unusual evangelistic career, drawing scenes and figure groups from the Bible in full color while preaching” (World’s Collision). Pont studied at the Pratt Institute and, as a 35-year-old carpenter and housepainter, won a scholarship at the Art Students League. Most of Pont’s work for the Federal Art Project took the form of woodcut prints, often with nautical subject matter. During this period Pont also was a tireless commercial illustrator whose output ranged from extremely technical diagrams, like Joseph Leeming’s <a href="https://archive.org/details/funwithpaper0000jose/mode/1up?" target="_blank" rel="noopener">Fun With Paper</a> (1939); to numerous book <a href="https://archive.org/details/expositorynoteso0000litt/mode/1up" target="_blank" rel="noopener">covers</a> for the evangelical minister H.A. Ironside; to more evocative works like Alan Viliers’ <a href="https://archive.org/details/whalersofmidnigh0000alan/mode/1up" target="_blank" rel="noopener">Whalers of the Midnight Sun</a> (1936). This last title stands in for many illustrations for maritime-themed books, often for younger readers. Pont himself published an intriguing synthesis of theology, speculative architecture, and illustration called <a href="https://archive.org/details/tabernaclealphab0000char/page/n6/mode/1up" target="_blank" rel="noopener">The Tabernacle Alphabet</a> (1946). In later years he moved to Wilton, CT living in a home he himself had constructed. He passed away in 1971.11 works at <a href="https://www.philamuseum.org/collection?artist=Charles%20E.%20Pont" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 4 works at <a href="https://americanart.si.edu/artist/charles-e-pont-3834" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 16 works at <a href="https://www.metmuseum.org/art/collection/search?q=Charles+Ernest+Pont&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 4 works at <a href="https://www.nga.gov/artists/33895-charles-ernest-pont" target="_blank" rel="noopener">National Gallery of Art</a>. 3 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-31" target="_blank" rel="noopener">FAP</a>. 14 images at <a href="https://art.gsa.gov/people/2183/charles-ernest-pont/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Official Guide Book, New York World’s Fair 1939. Exposition Publications, 1939 <a href="https://archive.org/details/1939-nyworlds-fair-official-guidebook/page/156/mode/1up" target="_blank" rel="noopener">Link</a>; Charles E. Pont, The World’s Collision (W.A. Wilde, 1956); “Charles E. Pont,” Wikipedia <a href="https://en.wikipedia.org/wiki/Charles_E._Pont" target="_blank" rel="noopener">Link</a> 1939 World's Fair Charles E. Pont Corona Ash Dump Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/31dd0947085b0b4979c9bb5f9c34f6db.jpg 2b3e825fe8a0a955bcb14ceff36901ce https://openvalley.org/files/original/42e777fe9d1f4a28d30d9586bb55ce77.jpg cf0202e8915a891aa92dc580dd8d54e5 https://openvalley.org/files/original/0792923b20516f525f61e84cd0f5cd2e.jpg bc13ce1625a5570421c4af7e83263627 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 lithograph 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 Western Electric Company multiple switchboard Description An account of the resource In order to handle increasing numbers of telephone calls, switchboards like this model from the 1880s employed operators to make connections between the parties. (Click on the image for diagrams illustrating the difference between single-line wires and a switched circuit.) Creator An entity primarily responsible for making the resource Poole, J[oseph] Date A point or period of time associated with an event in the lifecycle of the resource 1891 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived J[oseph] Poole, "Practical Telephone Handbook and Guide to the Telephone Exchange" (London: Whittaker, 1891), p. 148 Format The file format, physical medium, or dimensions of the resource jpeg, 454 KB electricity Networks Sheffield Peabody telephone https://openvalley.org/files/original/2c69a001b0d2662d060f1a1908d0f3f4.jpg 75b8175053316faac6601fc9aa875c58 https://openvalley.org/files/original/87046917a77d9dc276a6d220a73ea93b.jpg 773c4c6bc21ce425634dc863f984f440 https://openvalley.org/files/original/6509750067713680982624628d13587e.jpg d12a8045e2c334fb5bfa89392f1987f4 https://openvalley.org/files/original/dc4465ab0b96c59afc1ab7dded1a4410.jpg ce86028b97c7e15148622d1af4aebc68 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Legal document 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 Transfer Tax Deposition for the Estate of Eugene E. Harmon Description An account of the resource Legal proceedings in the Monroe County Surrogate Court evaluated, for the purposes of taxation, Mr. Harmon's real estate, personal property, and outstanding creditors. This document provides a glimpse into the financial life of a successful farmer of his day, including agricultural services used and the number of laborers he had hired. Note: the fourth image file represents that portion of the document obscured by an attached overleaf at the bottom of the third image. Creator An entity primarily responsible for making the resource Pools, Harry Otis Date A point or period of time associated with an event in the lifecycle of the resource 1919-10-22 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Harmon Family Collection, Big Springs Museum Format The file format, physical medium, or dimensions of the resource jpeg, 416 KB jpeg, 424 KB jpeg, 817 KB jpeg, 224 KB Eugene E. Harmon Harmon Family O-Ka-lee Farm https://openvalley.org/files/original/d753ae8e1253ce42c29d10bb9c4dba03.jpg d67c347487c21df6fb4a4111942432af 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 in. 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 National Shield of Guatemala, Centroamérica Description An account of the resource Mandala forthrightly asserts that it was “Made by Timoteo Tzun Poros” during a Creative Artists Migrant Program Services (CAMPS) workshop. Its design is based upon a shield created in 1871 that celebrated the fiftieth anniversary of Guatemalan independence from Spain on 15 September 1821: a resplendent quetzel, crossed guns, and laurel wreaths. Poros adds a small Guatemalan flag to the mandala. Note: image quality is affected by shrink wrap enclosing the art work, due to its creator never returning to retrieve it. Creator An entity primarily responsible for making the resource Poros, Timoteo Tzun Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 2000-2010 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Type The nature or genre of the resource Still image art Creative Artists Migrant Program Services Geneseo Migrant Center Guatemala Mandala https://openvalley.org/files/original/b2843be31ecfc3f99797828aa2f2f240.jpg 9956eda6bb8efa9049f6404be581ab30 https://openvalley.org/files/original/484d1e11b73d973a9ca6273e76830a2e.jpg 0cdf09cd8c7bebb991d22453a9262c1a 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 Canvas: 30 x 24 in. Frame: 35 x 30 in. 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 A Peaceful Valley Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.3 MB Description An account of the resource Powell depicts a calm, rural landscape, with a flowing stream that starts in the foreground and curves across the canvas. The colors of the work become hazier, and brushstrokes become more organic as the eye moves from the foreground to the background, utilizing the technique of atmospheric perspective. The waters appear still, with bits of rock and greenery peeking out from the surface, providing more visual interest to the foreground. On the left side of the canvas, closer to the middle ground, there is a patch of land with foliage and a cluster of trees. consisting mostly of green, with bits of warmer colors dispersed throughout the bushes. The trunks and limbs of the trees are dark, creating a contrast against the soft green of the leaves. On the right side of the painting, another patch of land sits. There is less contrast in this area, as it is approaching closer to the background. On this side, we can see the figure of what appears to be a farmer and a goat-driven wagon. Due to the loose strokes used to create these figures, they almost seem to blend into the surrounding landscape. The painting embodies its title, as while it depicts a scene that can be interpreted as a farmer doing his job, it is simultaneously calm and serene. It reflects Powell’s later life, when he would be creating works for the WPA. He was older, and instead of traveling and doing grander things as he had in his younger years, he had more or less settled down. The farmer in the background may represent Powell himself, as while he is still working, the life he lives is much calmer than it may have been in the past, and this difference in style between this painting and some of his older works further shows this. About the Artist Powell was an American painter and muralist known primarily for his atmospheric landscape paintings. Born in Van Wert County, Ohio, he developed an early interest in art and eventually pursued formal training. Over the course of his career, he became associated with American landscape painting, particularly the natural scenery of the northeastern United States. His career spanned from the late nineteenth and early twentieth centuries, meaning he was quite far along in his art career when he began creating works under the Federal Art Program. Powell studied at several notable art institutions, including the San Francisco School of Design, the St. Louis School of Fine Art, and the Académie Julian in Paris. This combination of American and European education exposed him to a variety of artistic traditions and techniques, which influenced his approach to painting. His works often featured carefully observed natural environments such as forests, mountains, streams, and farmland, of which he based on places he’s been. Earlier in his career, he tended to paint grand landscapes of the West. He made paintings of National Parks, such as his work “Going to Sun Mountain, Glacier Park” and “Lincoln Peak, Glacier National Park.” In addition, he also made works encapsulating the expanse of the Grand Canyon. His career in his later years consisted of him painting more calm, rural landscapes, as he wasn’t traveling as much. His art was praised, particularly for how he composed the subjects of his work and his usage of color. Throughout his career, Powell lived and worked in both New York City and Dover Plains, New York. In addition to creating easel paintings, he also produced murals for public and religious buildings. Some of these murals were installed in churches in New York as well as in Bowne Hospital in Poughkeepsie, which was a sanatorium much like the New Deal Museum on Mt. Morris. Powell was active in the American art community and belonged to several professional organizations. He was elected an academician of the National Academy of Design in 1921 and remained associated with the institution for the rest of his life. He was also a member of the Salmagundi Club, the New York Watercolor Club, and was a founder of Allied Artists of America. During his career, he exhibited widely and received multiple awards for his work. Powell continued painting well into his late years and died on July 15th, 1956, in Poughkeepsie, New York. Today, his paintings of scenic landscapes remain part of museum collections and art auctions, preserving his contribution to American landscape painting. Creator An entity primarily responsible for making the resource Powell, Arthur Emery (1864 - 1956) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Papapietro, Isabella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 231 Type The nature or genre of the resource Still image Arthur Emery Powell Federal Art Project Landscape Art nature New Deal Museum https://openvalley.org/files/original/49381f46d781d37193b0bc7b3a51c5bf.JPG 0d8df6002cb1bb0113e83c1cdabd828b https://openvalley.org/files/original/b74bcb7db79a850c83f30e7df55eb0d6.JPG cb3398f0b23592dd471bacf8d6ecba31 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 38 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource From the Mid-Country Highway Format The file format, physical medium, or dimensions of the resource jpeg, 974 KB jpeg, 13.8 MB Description An account of the resource The location of this painting isn’t clear: there’s no identifiable “mid-country highway,” and a “mid-county” highway in Maryland doesn’t seem to fit the landscape. Here, we look at hilly terrain under a cloudy sky that have rendered the mountaintops very dark. A driveway in the foreground leads to a road, whose unpaved status either renders Powell’s title somewhat ironic or implies that we are looking from a newer road upon this simpler tableau. A farm and fields is visible in the midground, and another further in the distance. The colors here all are muted fall earthtones, no blazing foliage. About the Artist: Born in Van Wert, OH, Powell traveled and painted the American landscape at a young age, a pattern followed through much of his life. At age 15 it was a trip to Portland, OR, and San Francisco, eventually resulting in his enrollment at the San Francisco School of Design. Powell later studied at the St. Louis School of Fine Arts; Académie Julian, Paris; and with the classicist <a href="https://en.wikipedia.org/wiki/%C3%89douard_Toudouze" target="_blank" rel="noopener">Édouard Toudouze</a> and portraitist <a href="https://en.wikipedia.org/wiki/Gabriel_Ferrier" target="_blank" rel="noopener">Gabriel Ferrier</a>. He painted lakes in Glacier National Park, mountains in Idaho, town squares in France, and street scenes in New York. “Every time I got a couple hundred dollars in hand I’d strike out for some new place,” he later said (“Artist”). Although Powell’s specialty was landscape paintings, sometimes he experimented with engravings, woodblock prints, or allegorical material: massive, eight-by-twelve-foot mural paintings of “Second Birth of Christ” and “The Sermon on the Mount” for the Dover Plains Methodist church. By this point Powell had made his home in Dover Plains, NY  introduced to the area by his long-time artist friends G. Glenn Newell, Harry Franklin Waltman, and Walter C. Hartson. The mountainous rural environs of Dutchess County often were the subject of their landscapes. Powell was awarded various prizes for his paintings, a member of the Salmagundi Club and in 1937 elected to the National Academy of Design. But he is perhaps best remembered in his local community, having donated paintings to schools and firehouses, mentored local artists, and served as president of the art association. Just prior to his death Dover Plains named Powell Road in his honor. 1 work at the <a href="https://emuseum.hydecollection.org/objects/4251/winter-landscape?ctx=b2865c76-5eb0-4301-89b1-6da57033bab5&idx=0" target="_blank" rel="noopener">Hyde Collection</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-35" target="_blank" rel="noopener">FAP</a>. Sources Consulted: “Dover Church Gets Painting,” Poughkeepsie Eagle-News 26 Sept. 1932: 2; “Four Artists, Close Friends and Neighbors in County, Show Paintings at Gallery,” Poughkeepsie Journal 20 Jan. 1946: 11; “ ‘Artist Should Please Himself,’ Maintains Dover Plains Painter,” Poughkeepsie Journal 21 June 1953: 6A. Creator An entity primarily responsible for making the resource Powell, Arthur J[ames] E[mery], 1864-1956 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18241 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 148 Arthur J. S. Powell Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/5bd90e8c35e4ec3cd2be309896cd80b6.jpg d48cc869b4bd4247cce25436a6d9c8a2 https://openvalley.org/files/original/06011e9996712ccb7fd18fab89a062a8.jpg 564a0468f3717460f6714c635c242a55 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 Map 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 Map Showing the Birth Place & Course of Life of Abraham Lincoln, Also of His Great Funeral Cortege Description An account of the resource 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. Creator An entity primarily responsible for making the resource Power, John Carroll (1819-1894) Publisher An entity responsible for making the resource available E.A. Wilson & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1875 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 806 KB jpeg, 2.9 MB Type The nature or genre of the resource Map Abraham Lincoln Daniel McCallum Map Railroads https://openvalley.org/files/original/8f2412c24e91b823580d013d0c4fa12b.JPG 6c1fa7811336784b1303e161ab4d5fbf https://openvalley.org/files/original/fa55e8880307ddfe70826d8d17f942b0.JPG 954d2979534d364e1acb293fa197b0d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 30 x 24 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flower Arrangement Format The file format, physical medium, or dimensions of the resource jpeg, 918 KB jpeg, 11.5 MB Description An account of the resource At upper left are the flowers of this still life’s putative title, but it still doesn’t account for the majority of Preachen’s composition. Their bright orange petals activate several objects in a similar tone (fruit, a piece of fabric, a painted ceramic dish); their green leaves are echoed in another piece of fabric, a pear, and painted leaves on the ceramic objects. But arguably the most formative arrangement is modular, grouping the objects in cells that resemble a honeycomb. Wrinkles in the fabric are geometrical rather than naturalistic. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18244 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 151 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/0df5131280d2c0b88b4c4262c327a72a.JPG 2d33b2481b5dc1e75a41339718f2fc93 https://openvalley.org/files/original/34be3f6348036e20b62e26f904a6e2f4.JPG edd8caf0b7a0615679fac732512be287 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: chipped paint, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October Still Life Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 13.4 MB Description An account of the resource A vividly colored grouping avoids any appearance of symmetry or regularity of shape—even a painted plate isn’t circular. Likewise, mottling seems part of Preachen’s design as if to demonstrate that beauty can be irregular. Reds and oranges dominate in the foreground, including what may be a castor oil plant, whereas a glass, its elevated pedastal, and the backdrop shift toward blues. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936-10 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18245 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 152 Federal Art Project New Deal Gallery painting still life William Preachen