68 10 1402 https://openvalley.org/files/original/48f52ddedcdbbc4f09c407d199106ce9.JPG e8abd1f698519c9bdb29bd5ca9258584 https://openvalley.org/files/original/da0f89475d6ab65706117dfd570c7a38.JPG d283f7f5004227ddf8ad615ef5945cb6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: 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 Still Life on a Balcony Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 12.6 MB Description An account of the resource In its objects, archictecture, and visual style, this painting gestures back to earlier centuries of allegorical still lifes. On this side of an ornate railing, the seeming bounty is undermined by intimations of suffering (gladiolus), overconsumption (a bowl of fruit), and ephemerality (a lute). Red drapery spills upon an ornate floor. Beyond this balcony, the world, in quite a problematic state at the time. Preachen’s treatment of space renders the foreground and background discontinuous; in fact, how do we know it’s not a painting backdrop? 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 #FA18246 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 153 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/7ade1c1badf3f92cc3ae97491829c936.JPG 2f1e50ce4362f340ba70e3bccf1ddd75 https://openvalley.org/files/original/e6858f95a43a39e64071374466fa6f11.JPG 6610e46a7c4469503220592e7120b059 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: pin marks, slight peeling 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 Study Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 12.3 MB Description An account of the resource This vividly colorful painting has a lot going on. As with Preachen’s “Still Life on a Balcony,” space is radically discontinuous here: flowers, table covering, fields, and sky each occupy their own flat plane; the dark brown stoneware pitcher reflects its surroundings in distorted curves. It’s not clear what plant (or flower) is depicted on the cloth. About the Artist: We haven’t located much reliable information about this artist. He appears to have lived in Elmira, NY and been married to the poet and novelist Pauline Francis Stephens. 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 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 #FA18247 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 154 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/79c83d47a9ac4368b796e822eb684cde.jpg afb7fa8e29f36d4bc8678b0f2f58b00f https://openvalley.org/files/original/2f8e9ab0ee0f7a228008dabef453aaf4.jpg 5c923118ea8c6e42b5a1f92e09a51376 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 on canvas Physical Dimensions The actual physical size of the original image 26 x 20 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 Green Mountain Village Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 969 KB Description An account of the resource A gray sky overlooks the main street of a small mountain town, rendered by Prestipino with flat shapes and minimal shading. The unrealistic proportions and perspective in the painting give the image a visual appearance that evokes American folk art, which employs similar formal techniques. In the village, several old men and a few young women with an infant are gathered. In the middle of the painting is a building with a prominent clock tower topped in goldwork, perhaps the town’s city hall. A tiny figure can be made out working on the side of the tower. Behind the town hall are a few buildings which appear to be mixed use for residential and commercial purposes. On the far left side of the painting, a man sits on a rocking chair on the porch of a house which also sports an oval blue “Ford” sign, the sole source of ‘branding’ in the image.A heavy-set man stands facing away from the viewer in the bottom center of the painting, his large posterior on prominent display. Perhaps the proximity of the substantial buttocks in the composition to the state building presents some sort of sly political commentary on Prestipino’s part? About the Artist Gregorio Prestipino was born in 1907 to Sicilian immigrants Antonino Prestopino and Letteria Rando, who raised the boy in Little Italy in New York City. Prestipino’s career in the arts was kickstarted when he received a scholarship to the National Academy of Design in New York. At this renowned institution, the burgeoning painter had the opportunity to study under the guidance of portrait and genre painter  C.W. Hawthorne. Drawing from the works of 16th-century artist Pieter Bruegel as well as contemporary urban scenes he observed in Manhattan and Harlem, Prestipino created social realist paintings with a cubist influence that depicted, in the words of historian Irma B. Jaff, “the human condition with a warmth tempered only by honesty." A series of paintings depicting scenes from a New York State prison was featured in Life magazine in 1954, a major achievement for Prestipino. The same year, Prestipino served as the director of the MacDowell Colony - America’s first artist-in-residence program, located in Peterborough, New Hampshire. In recognition for his body of work, Prestipino was awarded the Rome Prize in 1972, which allowed him to further his studies with a residency at the American Academy in Rome. In addition to the serious topics he tackled, Prestipino also produced fanciful paintings and illustrations for children; his 1937 mural work depicting Mother Goose rhymes adorned the Infant Pavillion of the Welfare Island hospital in New York, and he provided whimsical illustrations for the 1968 picture book The Reluctant Dragon. Gregorio Prestinio passed away in 1984 at the age of 77. Creator An entity primarily responsible for making the resource Prestopino, Gregorio, 1907 - 1984 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 Contributor An entity responsible for making contributions to the resource Casey, Meaghan (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 403 Type The nature or genre of the resource Still image Federal Art Project Gregorio Prestopino New Deal Museum painting Vermont https://openvalley.org/files/original/e17844cac90f18aaa41a581f3e674802.pdf aba743ae41dfd3a3e38a8ef3728dc4f8 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 Printed sheets Physical Dimensions The actual physical size of the original image Three pages, 8.5 x 11 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 Poems by Intergrow Greenhouse Workers, 11 Sept. 2003 Format The file format, physical medium, or dimensions of the resource pdf, 209 KB Description An account of the resource Poet Janine Pommy Vega facilitated dozens of writing workshops during her time with Creative Artists Migrant Program Services (CAMPS), whether located in farm labor camps or other sites where migrant workers could access. This session was held at the Colonial Motel in Oramel, NY; its participants were employees at the 680,000 square-foot Intergrow Greenhouse in nearby Fillmore, NY. A list of the poems appears below, all of which were translated by Pommy Vega. Mario Proquinto, "The Festival of Good Friday" Arturo Martínez Salas, "The Mint and the Serpent" Pablo Enrique Martinez Resendiz, "The Legend of the Bullfrog" Eron Hurtado Asevedo, "The Legend of the Lady" Sabino Cotreras Monterrobio, "Legend of the Night Watchman and the Black Horse" Jose Luis Resendiz Trejo, "Witchcraft" Everybody Together, "The Rattlesnake" Creator An entity primarily responsible for making the resource Proqunto, Mario Salas, Arturo Martínez Rsendiz, Pablo Enrique Martinez Asevedo, Eron Monterrobio, Sabino Cotreras Trejo, Jose Luis Resendiz Vega, Janine Pommy (Translator) 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 2003-09-11 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Geneseo Migrant Center Intergrow Janine Pommy Vega Poetry https://openvalley.org/files/original/7741870cb3fc2b3f5c85947f1b2a9dc3.jpg 23075852c4f81a5cd603f877f8f099f3 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 Portrait of Edward Livingston Trudeau Description An account of the resource A photograph of Dr. Edward Livingston Trudeau (1848-1915) posing during wintertime outside his Saranac Lake Sanatorium. Creator An entity primarily responsible for making the resource Public Domain Date A point or period of time associated with an event in the lifecycle of the resource 1910 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived The World's Work Format The file format, physical medium, or dimensions of the resource jpeg, 307 KB Edward Livingston Trudeau https://openvalley.org/files/original/1e195a1b9f0a6c3074de337e8c875d25.jpg 1d54ba40dd4ccea58dbc1d41c54d4cab 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 Children in a Tuberculosis Sanatorium Description An account of the resource A line of children lay in a row receiving treatment for tuberculosis. They are horizontal and outside, which was a part of the Brehmer method of treatment. Creator An entity primarily responsible for making the resource Public Domain Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource Michalak, Benjamin Source A related resource from which the described resource is derived Finnish Museum of Photography Format The file format, physical medium, or dimensions of the resource jpeg, 442 KB new deal era treatment tuberculosis https://openvalley.org/files/original/786af418b8de0bba6bf787d0530630fe.jpg 687c704999896adf449ed03d93815208 https://openvalley.org/files/original/416142f38d58021006d9db1688f0f8c7.jpg 20f1fb7e2d6ea6cfb09d6c93323f0070 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 Color lithograph on paper Physical Dimensions The actual physical size of the original image Image: 10 3/4 x 14 in. Frame: 17 1/8 x 21 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 Uptown Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 467 KB Description An account of the resource Uptown depicts an urban street scene dominated by an elevated railway structure that extends diagonally across the composition. The green metal platform is supported by vertical columns and railings, forming a geometric framework above the street. A train car sits on the elevated track; its windows are shining with yellow light that contrasts with the darker surroundings. Below the structure, a single figure walks across the street holding an umbrella. The figure appears dark and slightly blurred in comparison to the surrounding architectural elements. The street surface appears smooth and reflective. On the right side of the image, a brick building corner with a large window and a trash can sits close to the base of the railway support. Another tall brick building rises on the left side of the composition, where a rooftop sign with partially visible letters extends into the sky. Above the buildings, a dark and cloudy sky fills the upper portion of the image. The composition emphasizes strong directional lines and contrasts in value. The diagonal placement of the elevated railway organizes the scene and creates movement across the image. Vertical columns and horizontal platform edges create a structural grid that balances the composition. Color contrasts also play a role in emphasizing key elements. Cool green and gray tones dominate the railway and sky, while warmer reddish hues define the brick buildings. The bright yellow train windows introduce a concentrated area of light and serve as a visual focal point against the darker environment. Spatial depth is suggested through overlapping forms, with the walking figure and street occupying the foreground, the railway supports forming the middle ground, and the buildings and sky receding into the background. About the Artist Leonard Pytlak (1910–1998) was an American serigrapher, lithographer, painter, teacher, and lecturer born in Newark, New Jersey. He studied at the Newark School of Fine and Industrial Art before continuing his education at the Art Students League in New York, where he was likely introduced to printmaking. Pytlak became an active member of the Graphic Arts Division of the New York City Works Progress Administration’s Federal Art Project from 1935 to 1941, producing prints and contributing to public art initiatives. Under the WPA/FAP, he completed a mural for Greenpoint Hospital in Brooklyn and developed a body of work that reflected everyday urban life in New York City. Pytlak was a founding member and twice president of the National Serigraph Society and was also affiliated with the Artists League of America, Audubon Artists, and the Philadelphia Color Print Society. His lithographs from the mid-1930s to early 1940s often depicted New York scenes such as the Bowery and Central Park. In 1943, he contributed the screenprint They Serve on All Fronts to the exhibition <a href="https://www.1stdibs.com/art/prints-works-on-paper/abstract-prints-works-on-paper/leonard-pytlak-whistle/id-a_15705292/">“America in the War,” organized by Artists for Victory</a>. The work, portraying a frontline medical surgery unit, won second prize in the serigraphy category. Throughout his career, <a href="https://collections.si.edu/search/results.htm?q=Pytlak%2C+Leonard">Pytlak exhibited widely</a>, including at the Art Institute of Chicago and the Metropolitan Museum of Art, where he received a prize in 1942, as well as at other major institutions. He was awarded a Guggenheim Fellowship in 1941. In addition to his artistic production, Pytlak dedicated many years to teaching drawing, painting, and screen printing. During the 1960s, he led a private class for students with disabilities through the New York State Rehabilitation Department. In 1982, the Craft Students League Gallery in New York mounted a retrospective of his fifty years of printmaking, recognizing his contributions to American graphic arts. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. 32 images at <a href="https://art.gsa.gov/people/1946/leonard-pytlak/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910 - 1998) 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 Murty, Molly (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 1404 Type The nature or genre of the resource Still image Elevated Train Federal Art Project Leonard Pytlak lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/9febf80fdc387b71119f78f5ecf20e43.jpg e23c3a9d477c9518bf31f5e769b14774 https://openvalley.org/files/original/1a533a8a31bac13d4d2e972f75623d05.jpg 4b9c70835beb446063b532ae2862f35d 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 Lithograph on paper Physical Dimensions The actual physical size of the original image 13 1/2 x 9 3/4 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 The Repair Man Format The file format, physical medium, or dimensions of the resource jpeg, 2.9 MB jpeg, 2 MB Description An account of the resource About the Artist Leonard Pytlak (1910–1998) was an American serigrapher, lithographer, painter, teacher, and lecturer born in Newark, New Jersey. He studied at the Newark School of Fine and Industrial Art before continuing his education at the Art Students League in New York, where he was likely introduced to printmaking. Pytlak became an active member of the Graphic Arts Division of the New York City Works Progress Administration’s Federal Art Project from 1935 to 1941, producing prints and contributing to public art initiatives. Under the WPA/FAP, he completed a mural for Greenpoint Hospital in Brooklyn and developed a body of work that reflected everyday urban life in New York City. Pytlak was a founding member and twice president of the National Serigraph Society and was also affiliated with the Artists League of America, Audubon Artists, and the Philadelphia Color Print Society. His lithographs from the mid-1930s to early 1940s often depicted New York scenes such as the Bowery and Central Park. In 1943, he contributed the screenprint They Serve on All Fronts to the exhibition <a href="https://www.1stdibs.com/art/prints-works-on-paper/abstract-prints-works-on-paper/leonard-pytlak-whistle/id-a_15705292/">“America in the War,” organized by Artists for Victory</a>. The work, portraying a frontline medical surgery unit, won second prize in the serigraphy category. Throughout his career, <a href="https://collections.si.edu/search/results.htm?q=Pytlak%2C+Leonard">Pytlak exhibited widely</a>, including at the Art Institute of Chicago and the Metropolitan Museum of Art, where he received a prize in 1942, as well as at other major institutions. He was awarded a Guggenheim Fellowship in 1941. In addition to his artistic production, Pytlak dedicated many years to teaching drawing, painting, and screen printing. During the 1960s, he led a private class for students with disabilities through the New York State Rehabilitation Department. In 1982, the Craft Students League Gallery in New York mounted a retrospective of his fifty years of printmaking, recognizing his contributions to American graphic arts. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. 32 images at <a href="https://art.gsa.gov/people/1946/leonard-pytlak/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910–1998) 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 Murty, Molly (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1415 Type The nature or genre of the resource Still image Federal Art Project Great Depression Labor Leonard Pytlak lithograph New Deal Museum https://openvalley.org/files/original/482331416227ee5746ec3275b058c88e.jpg bfd27bf44f4adda8d165a27d5b7ce43c https://openvalley.org/files/original/cc06479904d352c427b23f257036308a.jpg 2e8423c763a5618ef98eca0202e4b775 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 Color lithograph Physical Dimensions The actual physical size of the original image Window: 14 1/4 x 12 1/4 in. Sheet: 17 x 14 3/4 in. Mat: 19 1/4 x 17 1/8 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 New for Old Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 939 KB Description An account of the resource New for Old is a color lithograph, showing buildings on a street and a crane-like machine. There are what looks like building materials next to the machine. The buildings’ proportions feel slightly off, just enough where they seem to bend a little. Though the focal point would seem to be the construction, but the viewer does not get a good view of the construction itself, as there is a part of a wall still standing, and a dirt pile where the building materials are, along with the body of the crane machine. There is no movement in the print—no figures actively working on the construction site, or people on the street. The colors are muted yellow and blue, created an aged, washed-out effect on the print. The only dark part of the print is the bottom right corner where the building materials and dirt pile are. The print overall has an unsettling feeling to it, devoid of any living things and its washed-out color. It might suggest that perhaps this construction is not a good thing, because of the dark only around the building materials and the emptiness. It might make the audience wonder what the “old” was that is getting replaced, and what the replacement is. Though when compared to a similar print, Burke’s Delousing, which has a darker atmosphere and connotation to the title (“delousing” meaning to get rid of lice or other parasitic insects), New for Old seems to be a more positive—while still eerie—depiction of change and construction. About the Artist A pioneer in screen printing, Leonard Pytlak was born in 1910 in Newark, New Jersey. He attended the Newark School of Fine and Industrial Art, and the Art Students League in New York. Pytlak specialized in printmaking, both serigraphs and lithographs. He also painted, creating a mural for Greenpoint Hospital in Brooklyn, New York, under the WPA in the 30s. In 1938, he worked for the FAP in New York, in the Graphic Section, part of the silkscreen unit. He was a founding member of the National Serigraph Society and was elected twice as president. He had several solo exhibitions in the 40s, and was awarded the Guggenheim Fellowship in 1941 to investigate new techniques in color lithography and serigraphy. He also won awards from the Metropolitan Museum of Art, the Philadelphia Print Club, the Philadelphia Color Print Society, the Seattle Art Museum, the National Academy of Design, and the Library of Congress. During the 1960s, Pytlak taught drawing, painting, and screen printing, and ran a class for disabled students for the New York State Rehabilitation Department. 108 works at <a href="https://www.philamuseum.org/collection?artist=Leonard%20Pytlak">Philadelphia Museum of Art</a>. 22 works at <a href="https://www.nga.gov/artists/5289-leonard-pytlak/artworks">National Gallery of Art</a>. 8 works at <a href="https://americanart.si.edu/artist/leonard-pytlak-3901">The Smithsonian American Art Museum</a>. 1 work at <a href="https://www.mmoca.org/artist/leonard-pytlak/">Madison Museum of Contemporary Art</a>. 4 works at <a href="https://collections.mfa.org/search/objects/*/leonard%20pytlak">Boston Museum of Fine Arts</a>. 3 works at <a href="https://www.brooklynmuseum.org/search/collection?artist_maker=Leonard+Pytlak">Brooklyn Museum</a>. 24 works at Metropolitan Museum of Art. 7 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-40" target="_blank" rel="noopener">FAP</a>. 32 images at <a href="https://art.gsa.gov/people/1946/leonard-pytlak/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Pytlak, Leonard (1910–1998) 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 Singer, Ella (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Musueum, Mount Morris NY Object #FA 84 Type The nature or genre of the resource Still image Federal Art Project Leonard Pytlak lithograph New Deal Museum Urban Setting https://openvalley.org/files/original/f4bcbcac3b8a3387391c4026e8ec8d54.jpg aecb6d6532db9b2c67cffc0b19b5ae5a 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 Comic strip Physical Dimensions The actual physical size of the original image 14 x 11 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 One of Our Bombers is Missing Creator An entity primarily responsible for making the resource Raboy, Emanuel (Mac) 1914-1967 Date A point or period of time associated with an event in the lifecycle of the resource 1943-10-19 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Look Magazine 7.21 (Oct. 19, 1943): 52-53 Format The file format, physical medium, or dimensions of the resource jpeg, 597 KB Description An account of the resource Emanuel (Mac) Raboy began his early professional life working in the Federal Art Project's Graphic Art Division, spanning the second half of the 1930s. His high-contrast wood engravings, dramatically composed subjects, expressive bodies, and social concerns eventually led to a very successful career as a comics artist. His first break came in 1942 with <a href="https://www.comics.org/series/306/" target="_blank" rel="noopener">Captain Marvel Jr.</a> Raboy's well-regarded work eventually led to his taking on the syndicated Sunday edition of Flash Gordon in 1946, a job he held until his death in 1967.  This short work seems to have elements both of Raboy's amplified social realism and his work in comics. It describes a real-life episode of war--about the crew of a B-17 bomber forced to ditch their plane in the North Atlantic--using the structures of comics. Actions occur across sixteen panels; there are dramatic tracers, explosions, and speed lines; facial expressions match the lift-and-death actions. Type The nature or genre of the resource Still image Comic Strip Federal Art Project Mac Raboy World War II