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                  <text>This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." &lt;br /&gt;&lt;br /&gt;Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.&lt;br /&gt;&lt;br /&gt;Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.</text>
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                  <text>1935-1940</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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      <name>Still Image</name>
      <description>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.</description>
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          <name>Original Format</name>
          <description>The type of object, such as photograph, map, drawing, painting, etc., and any additional data</description>
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              <text>Oil Painting</text>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>19.5 x 23.5 in.</text>
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              <text>Condition: stained, pencil marks</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Midsummer Day</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>From the edge of a lake or slow-moving river, we look across to see several houses built at water’s edge. Using a palette similar to his other New Deal Gallery paintings, Patterson depicts a freshness normally associated with springtime: there appear to be yellow flowers in bloom along the shoreline, and mountains in the distance show no traces of snow.&lt;span style="text-decoration: underline;"&gt;&lt;br /&gt;&lt;br /&gt;About the Artist&lt;/span&gt;: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; along with his teaching posts are frequent mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and at the Des Moines Women’s Club exhibitions.</text>
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            <name>Creator</name>
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                <text>Patterson, Claude, (1887-1973)</text>
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            <name>Publisher</name>
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                <text>Federal Art Project</text>
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            <name>Date</name>
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                <text>1937</text>
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                <text>Ritz, Abigail (Photography) &lt;br /&gt;&lt;br /&gt;Anderson, Justin (Biography) &lt;br /&gt;&lt;br /&gt;Cooper, Ken (Biography)</text>
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            <name>Source</name>
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                <text>New Deal Gallery, Genesee Valley Council on the Arts &lt;br /&gt;&lt;br /&gt;Object #FA18234</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Lower Manhattan Sea Level prediction </text>
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                <text>public doman, curbed.com</text>
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