67 10 1402 https://openvalley.org/files/original/8717f6b9b0c4f5b4a8e476d5dbe1e3e2.jpg 27102e9490c1194c5cbabeffc0d063e1 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 Mark Twain's Study in Elmira Description An account of the resource Located in Elmira, NY, the octagonal building was given to Twain (the pen name of Samuel Clemons) by his sister Susan and her husband Theodore Crane in 1874. He wrote portions of several books there. In 1952 the structure was moved to Elmira College, where it can be viewed today. Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1937-10-20 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived New York State Archives. New York (State). Education Dept. Division of Archives and History. Photographs of historic sites and structures, 1936-1963. Series A0245-77. Chemung County. Format The file format, physical medium, or dimensions of the resource jpeg, 439 KB Type The nature or genre of the resource Still image https://openvalley.org/files/original/4c93a9a80f35a7ee6f1dad733593b794.png e82484ff00d101bbcd574c61c2629235 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Digital file 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 Market Share of Clothing Fibers Description An account of the resource Since World War II, the percentage of clothing that is made from plastics (such as polyester and rayon) has increased dramatically. As of 2016, approximately two-thirds of the fiber used is some form of plastic. This chart shows the relative percentages: 65% synthetics, 21% cotton, 8% cellulose fibers, 1% wool, and 5% all other fibers. The chart is based on information from the trade group. Common Objective. Date A point or period of time associated with an event in the lifecycle of the resource 2018-05-22 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Common Objective, <a href="https://www.commonobjective.co/article/what-are-our-clothes-made-from" target="_blank" rel="noopener">"What are Our Clothes Made From?"</a> 22 May 2018 Format The file format, physical medium, or dimensions of the resource jpeg, 262 KB Type The nature or genre of the resource Still image Clothing Perry Knitting Co. Perry, NY https://openvalley.org/files/original/56584b7b6db36f885c77e935007ed35c.png 25f894bdd26a1d2c60f50f6ad8bf3fba 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 Photography Physical Dimensions The actual physical size of the original image 4"x3" 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 Mary Yasso's Wedding Description An account of the resource A photo of the wedding celebration for Mary Yasso, whose family lived and worked in Retsof's Little Italy. Creator An entity primarily responsible for making the resource J. Marilyn Hannett Yasso Date A point or period of time associated with an event in the lifecycle of the resource 1930's Contributor An entity responsible for making contributions to the resource Auld, Mary Source A related resource from which the described resource is derived History of Retsof, NY Format The file format, physical medium, or dimensions of the resource Book https://openvalley.org/files/original/0d7bede47d472449c3cf7680f93bb3a0.jpg 61913133dbcdec2567da2786a37a4336 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 Illustration 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 Masthead for "The Coming Nation" Description An account of the resource At the time of this illustration Braverman’s job title was “Associate Editor and Circulation Manager” for The Coming Nation," published in Chicago; he also produced much of the magazine’s art. It had been founded as "The Socialist Woman" in 1907 by Josephine Conger-Kaneko and in 1909 changed its name to "The Progressive Woman." The final iteration shown above lasted only a year before folding in 1914. After passage of the Nineteenth Amendment in 1920, and as socialist unity fragmented under the duress of Palmer Raids and systematic anti-red legislation, Braverman became disillusioned and moved into poster art and advertising. By the 1920s he worked for the Curtis Company agency in Detroit, MI and then the Hamman group in Oakland, CA. He played a central role in smuggling copies of James Joyce’s banned novel Ulysses into America in 1922. Later Braverman created works for the Federal Art Project, including a work held by the New Deal Gallery at Mt. Morris: “Down and Out” (1937). He had a great interest in films, during the 1940s working upon an authorized biography of the director D.W. Griffith that never was published. He lived the last years of his life in St. Paul, MN. Creator An entity primarily responsible for making the resource Braverman, Barnet (1888-1965) Publisher An entity responsible for making the resource available The Coming Nation Date A point or period of time associated with an event in the lifecycle of the resource 1914-04 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "The Coming Nation" 1.6 (April 1914): 3 Format The file format, physical medium, or dimensions of the resource jpeg, 376 KB Type The nature or genre of the resource Illustration Barnet Braverman New Deal socialism The Coming Nation The Progressive Woman https://openvalley.org/files/original/46f93708111524d4581ca7b5a8209b1c.JPG 85752f94ac708f5fa8cf92fc4e240dd9 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: 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 May Flowers Creator An entity primarily responsible for making the resource Swisher, Allan (1888-1960) 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) Closser, Paige (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 #FA18277 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB Description An account of the resource A table is the support for a grecian looking vase containing flowers including carnations, daisies, irises, lilies, and babies breath. These colorful flowers stick out against a dull brown background. Some of the flowers are noticeably droopy and the shading shows there is light hitting the vase from the left. About the Artist: Born in Gypsum, KS, Swishers appears to have been somewhat of a provocateur from a young age; he started his own newspaper at age eleven and by the next year had been made an honorary member of the State Editorial Association. He studied with Harry M. Walcott at the Art Institute of Chicago, and later with <a href="https://en.wikipedia.org/wiki/Jean-Paul_Laurens">Jean-Paul Laurens</a> at the Académie Julian, Paris. In Chicago, he was among a group who formed the Independent Art Society, seeking representation for local painters (Chicago Tribune 26 Feb. 1916: 11). His works were exhibited at places like the Art Institute of Chicago, the Carnegie Institute, the Whitney Museum of American Art, and the National Academy of Design. For a time Swisher taught art at the University of Kentucky, meanwhile supplementing his income through portrait painting. Judging from peppery letters to the editor over the years, Swisher never lost his interest in the life of a newspaperman. 14 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-30">FAP</a>. Identifier An unambiguous reference to the resource within a given context 184 Allan Swisher Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/39d3771cb8e0696f6666a571c56b46ae.jpg 48cca0712c0b17436cff5b31869ecf90 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Print advertisement Physical Dimensions The actual physical size of the original image 2 x 3 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 McDonald Bros., Bankers Description An account of the resource Number 22 on the Burleigh map, this location housed a bank chartered by David A. and Simon W. McDonald, the latter also running an insurance business in the same building. David was primarily a miller, who during the 1880s ran the Genesee County Flour Mills in Batavia, NY. Simon, who for a time had worked at Page's Mill in Mumford, NY, concentrated primarily upon banking. Sometime around 1900, McDonald Bros. Bank became First National Band with an expanded board of directors. Publisher An entity responsible for making the resource available Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1892-01-14 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Caledonia Advertiser, 14 Jan. 1892. Courtesy of Tom Tryniski / Fulton History. Format The file format, physical medium, or dimensions of the resource jpeg, 118 KB Burleigh Litho Co Caledonia, NY David A. McDonald McDonald Bros. Bank Milling Simon W. McDonald https://openvalley.org/files/original/a866dd95e234ff55da001a81642e959b.jpg 2a9b7bac16b78d00cae895f3a9d07326 https://openvalley.org/files/original/0b97c3118d203013d7098c085a16a5d9.jpg 83fe24270046ad88b7785b473a0d39b1 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 McKay Bros' Grist Mill Description An account of the resource Number 14 on the Burleigh map, mill site is one of the older landmarks in Caledonia. It was built in 1801 by Col. Charles Williamson, who was agent for Lord William Pultney concerning a massive tract of land--sold to Scottish immigrants on favorable terms. Williamson sold the mill to John McKay ca. 1803, and it passed along to his son John Jr. and then to grandsons who installed modern rolling equipment in 1886. As of 1892, its capacity was some 48 barrels of wheat flour per day, along with many tons of animal feed. These two advertisements date to a period when brand names of flour blends had long since become important to the milling industry. Date A point or period of time associated with an event in the lifecycle of the resource 1894-11-22 1902-10-22 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Caledonia Advertiser 22 Nov. 1894 Caledonia Era 22 Oct. 1902 Courtesy of Tom Tryniski / Fulton History. Format The file format, physical medium, or dimensions of the resource jpeg, 316 KB jpeg, 483 KB Type The nature or genre of the resource Newspaper advertisements Burleigh Litho Co Caledonia Flour Mills Caledonia Roller Mills Caledonia, NY John McKay Mill https://openvalley.org/files/original/7c927bb081bf4132bfd5d3ffefe07c49.jpg a37edd87bc37af7794c23ecfe0dc8cd7 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 Print from nitrate negative 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 Mechanical Cotton Harvesters Description An account of the resource The full title of this photograph is "Three international pickers in a cotton field on Hopson Plantation, Mississippi Delta." It was taken by a photographer on contract with the Farm Services Administration, documenting agricultural practices and working conditions during the New Deal era. Creator An entity primarily responsible for making the resource Wolcott, Marion Post, 1910-1990 Publisher An entity responsible for making the resource available US Farm Security Administration Date A point or period of time associated with an event in the lifecycle of the resource 1939-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived US Library of Congress Digital ID #<a href="https://lccn.loc.gov/2017801785" target="_blank" rel="noopener">fsa 8c10971 //hdl.loc.gov/loc.pnp/fsa.8c10971 </a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.9 MB Type The nature or genre of the resource Still image Agriculture Cotton Farm Security Administration Great Depression Perry Knitting Co. https://openvalley.org/files/original/8f399f7f42310811a383264f3f69a165.jpg 8a14fd6213113436a968c020a7074d17 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 Physical Dimensions The actual physical size of the original image 7 x 5 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 Men in Kitchen at Blue Eagle, Moore Camp Publisher An entity responsible for making the resource available Geneseo Migrant Center Source A related resource from which the described resource is derived Courtesy of Steuben County Historical Society Description An account of the resource Caption suggests this photo was taken at the Gibson Farm in Wayland, NY, and a migrant labor camp run by Carl and Lucille Moore. While accommodations look extremely basic--a shared kitchen and refrigerator for perhaps dozens of farmworkers--Moore had the reputation of fairness in his role as intermediary between hired labor and farmer. Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 456 KB Type The nature or genre of the resource Still image Geneseo Migrant Center Gibson Farm migrant housing migrant workers Moore Camp https://openvalley.org/files/original/f102dcc31b9e61c953a531da60c072bf.jpg 76bd63ece46ddd47945655076aa55808 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 painting Physical Dimensions The actual physical size of the original image Image: 27.5 x 20.5 in. Frame: 35 x 28 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 Mending Nets Creator An entity primarily responsible for making the resource Emerson, Sybil Davis (1892-1980) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (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 1504 Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB jpeg, 1.2 MB Description An account of the resource A group of men works together, repairing at least two nets used to catch fish. All the men in this painting are either bent over or facing away from the viewer. Very little individual detail is shown. It seems that the fishermen are in a rural area—although given Emerson’s life experiences, that might be coastal Massachusetts; Normandy, France; or Long Island, NY. There is only one building in sight, which looks to be a work shed most likely where the nets are stored. The men are all in a similar type of clothing; nothing in their body language tells us whether they are happy or upset at what they’re doing. It’s what must be done, a boring task but one that allows them to survive. It may be the only thing that allows them to do so. Emerson opens up a lot of space to be shown in this painting, displaying the isolation many rural Americans felt and how far away they were physically from receiving any immediate help. Only a telephone or telegraph line, strung along unmilled tree trunks, hints at any connection beyond their locale. The stark topography and Emerson’s narrow range of browns and green implies that they have no one else to rely upon but themselves. About the Artist Sybil Davis Emerson was a painter, sculptor, muralist, fabric artist, and teacher, born in Worcester, Massachusetts on April 4th, 1892. In 1910 she graduated from Ohio State University and later she studied at the Art Students League in New York and Academie Falguière. For a time she lived in California, where she was working as a teacher at Lowell High School and an artist. She exhibited at the San Francisco Art Association in 1924, winning 1st place. Meanwhile, she developed project ideas for art teachers (<a href="https://archive.org/details/sim_school-arts_1920-09_20_1/page/42/mode/1up">1</a>, <a href="https://archive.org/details/sim_school-arts_1921-11_21_3/page/n54/mode/1up">2</a>, <a href="https://archive.org/details/sim_school-arts_1922-05_21_9/page/n35/mode/2up">3</a>) while contributing <a href="https://archive.org/details/new-justice_1919-11_1_16/page/7/mode/1up">political cartoons</a> to the socialist monthly New Justice. In the 1930s Emerson moved to New York where she exhibited at the Midtown Galleries and the Morton Gallery. It was during this time that she wrote and illustrated the children’s books <a href="https://babel.hathitrust.org/cgi/pt?id=umn.31951000782335b&seq=10">Jaques at the Window</a> (1936) and <a href="https://archive.org/details/pigeonhouseinn0000sybi/mode/1up">Pigeon House Inn</a> (1939), drawing upon her summers spent in Normandy as a child and murals that she later created in classrooms there. In 1942 Emerson was hired by the Pennsylvania State College (today, a university) as a professor of art education and home economics. As a woman artist, she grappled with the contradictions implied by that job title and recognized that amidst reconstruction after WWII “there is grave danger of overemphasis of the mechanical aspects of education and a need for greater consideration of the spiritual development of our young people” (“Problems”). Emerson went on to write and illustrate a well-regarded textbook titled <a href="https://archive.org/details/designcreativeap0000emer/page/n7/mode/1up">Design: A Creative Approach</a> (1953). Emerson later moved back to California where she taught summer courses at the University of Southern California and at the California College of Arts & Crafts in Oakland, California. Throughout her life she exhibited at numerous galleries and museums in San Francisco, Los Angeles, Albany, Philadelphia, New York and Chicago. Emerson would later retire to McMinnville, Oregon in 1959 where she spent the remainder of her days until her death on September 15, 1980. 4 works at <a href="https://palmer.emuseum.com/people/1057/sybil-davis-emerson/objects">Palmer Museum of Art</a>. 15 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-50">FAP</a>. Works Consulted: “Sybil Davis Emerson,” Traditional Fine Arts Organization <a href="https://tfaoi.org/cm/10cm/10cm115.pdf">Link</a>; Sybil Emerson, short autobiography in Bertha E. Mahoney, et al., Illustrators of Children’s Books, 1744-1945 (1947): 306 <a href="https://archive.org/details/illustratorsofch0000horn/page/306/mode/1up">Link</a>; Sybil Emerson, “Problems in Teaching Art” (Journal of Home Economics Dec. 1945: 615-617) <a href="https://archive.org/details/sim_journal-of-family-and-consumer-sciences_1945-12_37_10/page/614/mode/1up">Link</a> Type The nature or genre of the resource Still image Federal Art Project fishermen New Deal Museum painting Sybil Davis Emerson Sybil Emerson