69 10 1402 https://openvalley.org/files/original/0ea2533508c5b3b3bf1bb27084149359.jpg d4d9cac3bf7d2d7f5cf739712a9238c4 https://openvalley.org/files/original/a417dbb1ae586d8f74b72ecbd7627fe8.jpg 3bfd1732b5efa3f45171b99ae8b214a8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Wood engraving Physical Dimensions The actual physical size of the original image 6 x 4 5/16 in. (image) 11.5 x 9 in. (sheet) 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 Cropper's Return Description An account of the resource In a small, virtually unfurnished shack three people receive the titular sharecropper—two women and an elderly man, perhaps his father. Raboy’s possible allusion to the Prodigal Son’s return, however, is a sad moment: highlighted at the center of Raboy’s wood engraving is an empty hand above an empty table. Whether this moment captures the conclusion of a day’s work or some longer migration isn’t clear. The two women look out the door into a dark future; surely this would have resonated with many Americans in 1935. Despite no visible lighting source, the print is illuminated with high-key drama encircled by dark shadows. Clothing, wood grain, laundry, wooden siding, and even a beard all ripple with patterned light. It is a style characteristic of the artist’s other FAP works and successfully translated into a later career in comics. There also may be an autobiographical dimension to this print since the artist’s immigrant father, Ayzik (Isaac) Raboy, worked in agriculture for several years and wrote about his North Dakota experiences in Yiddish novels and short stories. “Cropper’s Return” was exhibited at the Whitney Museum of Art and singled out at a National Academy of Art show by the New York Times critic, who placed it “at the head of the list” (27 Mar. 1938: 142). About the Artist: Raboy is one of the better-known Federal Art Project lithographers among collectors, albeit for his subsequent work in comics, where some original drawings sell for hundreds of thousands at auction. He was born in New York City to Sarah and <a href="https://congressforjewishculture.org/people/896/Raboy-Ayzik-Isaac-November-15-1882-January-10-1944" target="_blank" rel="noopener">Ayzik (Isaac) Raboy</a>, the latter a well-regarded Yiddish novelist who explored the contradictions of immigrant culture in works like The Jewish Cowboy (Der yidisher kauboy, 1942). Mac Raboy was a precocious artist who studied at the New York School of Industrial Arts and The Pratt Institute Art School; he marked his twentieth birthday submerged in the Great Depression. Between 1935 and 1939, Raboy created more than a dozen prints for the Federal Art Project. His high-contrast wood engravings, dramatically composed subjects, expressive bodies, and social concerns already were cohering into a distinctive style. His works were exhibited at the National Academy of Design, Art Institute of Chicago, the Whitney Museum of American Art, and the 1939 World’s Fair in New York. In 1940 Raboy began working as an illustrator for Fawcett Publications, specifically its comics division. His big break came in 1941 with a spin-off series called Captain Marvel Jr., whose disabled newsboy protagonist can transform into an heroic version of himself—not entirely different in outward appearance. Raboy became known for fine detail and dynamic, <a href="https://upload.wikimedia.org/wikipedia/commons/8/80/MasterComics34.jpg" target="_blank" rel="noopener">almost gravity-defying composition</a>. With the outbreak of WWII, his series—along with work on other titles like Bulletman and Green Lama—joined the Allied Forces with strong anti-Nazi storylines. One especially interesting work during this period was a true-life story for Look Magazine in 1943. “One of Our Bombers is Missing” recounts an American B-17 bomber crew that is forced to crash-land in the Atlantic, still calling upon Raboy's FAP knack for human drama and <a href="https://openvalley.org/files/original/f4bcbcac3b8a3387391c4026e8ec8d54.jpg" target="_blank" rel="noopener">told in sequential panels</a>. In 1948 Raboy achieved what he considered his dream job: illustrating the (color) Sunday newspaper series of <a href="https://openvalley.org/files/original/fedc597e3b9d0028fd0641bb6894b439.jpg" target="_blank" rel="noopener">Flash Gordon</a>, which he continued until his death in 1967. <a href="https://americanart.si.edu/artist/mac-raboy-3916" target="_blank" rel="noopener">4 works</a> at Smithsonian American Art Museum. <a href="https://www.artic.edu/artists/44426/mac-raboy" target="_blank" rel="noopener">4 works</a> at the Art Institute of Chicago. <a href="https://www.pct.edu/gallery/victory-for-a-dime/mac-raboy" target="_blank" rel="noopener">2 works</a> at The Gallery at Penn College. <a href="https://onlinecollections.syr.edu/people/5002/mac-raboy/objects" target="_blank" rel="noopener">3 works</a> at Syracuse University Art Museum. 3 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-45" target="_blank" rel="noopener">FAP</a>. 10 images at <a href="https://art.gsa.gov/people/1964/mac-raboy/objects" target="_blank" rel="noopener">GSA</a>. <a href="https://www.comics.org/creator/8531/covers/" target="_blank" rel="noopener">142 comics covers</a> at Grand Comics Database. Mac Raboy Fan Group (<a href="https://www.facebook.com/groups/580202255388383/posts/9271122572962931/" target="_blank" rel="noopener">facebook</a>). Works Consulted: Alex Jay, “Mac Raboy” at Stripper’s Guide: Explorations in Newspaper Comics History 14 Dec. 2022 <a href="https://comicstriphistory.com/?s=mac+raboy&cat=all&year=All+Years&monthnum=All+Months&order=desc&posts_per_page=10&post_type=post" target="_blank" rel="noopener">Link</a>; Roy Thomas, Mac Raboy: Master of the Comics (2019) <a href="https://13thdimension.com/a-tribute-to-captain-marvel-jr-s-mac-raboy-by-roy-thomas/" target="_blank" rel="noopener">Link</a>; Peter Hastings Falk, ed., Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/2689/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Raboy, Emanuel (Mac), 1914-1967 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description & biography)  Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum Object #FA1437 Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeb, 566 KB Type The nature or genre of the resource Still image Agriculture Federal Art Project Mac Raboy New Deal Museum woodcut https://openvalley.org/files/original/fedc597e3b9d0028fd0641bb6894b439.jpg f0a44252c2f7566a89dfe07a141e1060 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 comic strip Physical Dimensions The actual physical size of the original image 14 x 10 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 Flash Gordon: The Fire Plain Description An account of the resource Flash Gordon was a comic-strip hero dating to 1934, created by King Features to compete with the successful Buck Rogers series. It ran until 2003 under various artists, for our purposes including Emanuel (Mac) Raboy between 1948 and his death in 1967. Raboy began his working career in the Federal Art project, already developing a visual style in wood engravings that would translate successfully into the comics medium: high-contrast lighting, dramatically composed scenes, and expressive bodies captured in moments of action. Four of those works are in the New Deal Museum collection. Here, we see a typical episode of the Flash Gordon series, where Raboy had to navigate the constraints of small panel size and large blocks of speech balloons. Dramatic tendrils of fire--in red, orange, and yellow--surround the protagonist and his girlfriend Dale Arden. These visual elements contrast with the blues and violets of rocks, one of them hurtling downhill toward them in the last panel, in typical cliffhanger fashion. Creator An entity primarily responsible for making the resource Raboy, Emanuel (Mac), 1914-1967 Publisher An entity responsible for making the resource available King Features Syndicate Date A point or period of time associated with an event in the lifecycle of the resource 1957-02-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Image courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 777 KB Type The nature or genre of the resource Still image Comic Strip Federal Art Project Flash Gordon Mac Raboy New Deal Gallery https://openvalley.org/files/original/7806b2b04e31486de517b56291332733.JPG f6a0993ce0790c7314872f232b88f6e8 https://openvalley.org/files/original/4b528c250f4c934b82abe352e7a0f402.JPG 8979ea93d635abc4b42f1d1ea737d60a 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 22.5 x 16.5 in. Condition: surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fishkill Fields Format The file format, physical medium, or dimensions of the resource jpeg, 981 KB jpeg, 11.6 MB Description An account of the resource Using a fairly flat picture plane, Ramer uses an array of muted colors to depict a rural scene in Duchess County (mountains in the background may be the Fishkill range). The composition is balanced between an aging tree at left, a windmill at right. Between them is an area somewhat nebulous in its use; colors may indicate corn tassels, or simply overgrown fields. The building seems in good repair, however, so its effect is to serve as antipole to the largely natural landscape. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18248 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 156 Federal Art Project Nathaniel Ramer New Deal Gallery painting https://openvalley.org/files/original/5c9e615a8942ecbc1d0bdb5fa614cd0a.JPG 992d7dd4baa3ddaa49b66840266c1dc9 https://openvalley.org/files/original/d0f06e11658ddff7a69da8ddc3474885.JPG 2b66b84cca6d10c5c46b6e6bf6dbd2cc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 12 x 18 in. Condition: needs remounting 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 Lot Next Door Format The file format, physical medium, or dimensions of the resource jpeg, 839 KB jpeg, 6 MB Description An account of the resource It would appear that we’re looking at a farm—barn, silo, outbuildings, a line of trees—around haying season. So why the painting’s title? The nearest lot seems to be across a road, but fence posts run across it; if so this would be an informal farm road, not a county highway, and our proximity to the work of agriculture is even closer. Golds of haystacks stand out against lines of green. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP.</a> Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18249 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 156 Federal Art Project Nathaniel Ramer New Deal Gallery painting Watercolor https://openvalley.org/files/original/15e9298a829ae95fcaaffb8d3db46bec.JPG 1b8cf29b09ecff779b5c050062884589 https://openvalley.org/files/original/2789392460e20d3df050250bc2cde2fd.JPG 5f84e6574f398e62b51a632688eff099 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Watercolor painting Physical Dimensions The actual physical size of the original image 17.5 x 11.5 in. Condition: slightly buckled paper 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 Woods House Format The file format, physical medium, or dimensions of the resource jpeg, 826 KB jpeg, 7.1 MB Description An account of the resource Across a field we see two small buildings next to a larger one mostly obscurred by trees at left. Given their size and delapidation, it can be inferred that the lives within the homes are humble ones—perhaps agricultural workers, given the pile of hay at right. Telephone or electrical poles are visible near a road at right, along with an unreadable sign. Ramer’s subtle composition emphasizes the things we don’t know about the woods house(s), but they’re tucked into the center of his painting. Note: the line across this painting is due to broken glass in the painting’s frame. About the Artist: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Charles Z. Offin, “Introducing Nat Ramer,” Brooklyn Daily Eagle 23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” New York Post 22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman. Creator An entity primarily responsible for making the resource Ramer, Nathaniel (“Nat”), 1904-1987 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18250 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 157 Federal Art Project Nathaniel Ramer New Deal Gallery painting Watercolor https://openvalley.org/files/original/74e298a5a6c0fb17a7c610724581956b.jpg 06517d39f50e4cfb8edcd623fcc34365 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. 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/. Description An account of the resource This image incorporates a lot of life within an oddly cropped picture of the Garcia Family. This image gives a look inside of the living conditions of migrant farmworkers, but not through the eyes of someone who knows them as a worker, instead the image acknowledges the family and the life migrant farmworkers have outside of the farm. Creator An entity primarily responsible for making the resource Razo, Martha Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Title A name given to the resource Garcia Family at a Glance 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 Unknown Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Arts CAMPS Garcia Family Geneseo Migrant Center https://openvalley.org/files/original/2d4c2f0fda6e42960f8f9c8448765a98.jpg cd6e7f3db042dc98ad817aeb9b629b64 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 The Garcia Family Description An account of the resource This image incorporates a lot of life within an oddly cropped picture of the Garcia Family. This image gives a look inside of the living conditions of migrant farmworkers, but not through the eyes of someone who knows them as a worker, instead the image acknowledges the family and the life migrant farmworkers have outside of the farm. Creator An entity primarily responsible for making the resource Razo, Martha 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 Unknown Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Still image https://openvalley.org/files/original/13b21e796ea50c84cb6d4025be6eed02.jpg b4fd857bcc9ff98d65148468dfb62273 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 The Garcia Family Photos Description An account of the resource This image incorporates a lot of life within an oddly cropped picture of the Garcia Family. This image gives a look inside of the living conditions of migrant farmworkers, but not through the eyes of someone who knows them as a worker, instead the image acknowledges the family and the life migrant farmworkers have outside of the farm. Creator An entity primarily responsible for making the resource Razo, Martha 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 Unknown Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Still image Geneseo Migrant Center Migrant Camps migrant families Migrant Farmers https://openvalley.org/files/original/fd18ed024fec79ec01fd138f7aabfe03.jpg 89aca5d280e5e9f40df2db469e8bb4ea 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 The Garcia Family Photos Description An account of the resource This image incorporates a lot of life within an oddly cropped picture of the Garcia Family. This image gives a look inside of the living conditions of migrant farmworkers, but not through the eyes of someone who knows them as a worker, instead the image acknowledges the family and the life migrant farmworkers have outside of the farm. Creator An entity primarily responsible for making the resource Razo, Martha 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 Unknown Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg Type The nature or genre of the resource Still image Geneseo Migrant Center migrant families Migrant Farmworkers https://openvalley.org/files/original/c99386530db67ae9d71df937050d3399.JPG d97365218402826e55a6cd7a25307de4 https://openvalley.org/files/original/be4ccbaac45302c6d805391db38c6928.JPG 9cdddf91487a214aefcedaf03b2f3301 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 26 x 30 in. Condition: surface dirt, slight pitting 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 Spectre of the Roses Format The file format, physical medium, or dimensions of the resource jpeg, 988 KB jpeg, 12.1 MB Description An account of the resource This painting takes its name from <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose">Le Spectre de la rose</a>, a short ballet created in 1911 by Jean-Louis Vaudoyer. In it, a young girl dreams of dancing with the spirit of a rose worn to her first ball. It was famous for the performance of legendary dancer <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose#/media/File:Vaslav_Nijinsky_in_Le_spectre_de_la_rose_1911_Royal_Opera_House.jpg">Vaslav Nijinsky</a>, who leaped through one of the two large windows pictured at the back of the stage. Reinhart’s painting carefully retains markers of its theatrical origins, from spotlights to the dancers’ costumes, from the production’s stage to instruments in the orchestra pit at front. About the Artist: Born in Baltimore, MD, Reinhart studied art at the Maryland Institute and then moved to New York City at age 21. Reinhart’s use of dance and theater as subject matter for his painting appears to have grown out of lived experience, with a strong preference for the exotic. He designed costumes and a drop curtain for <a href="https://babel.hathitrust.org/cgi/pt?id=nyp.33433042938807;view=2up;seq=60" target="_blank" rel="noopener">The Golden Doom</a>, set just before the fall of Babylon; dressed himself as a “Persian Demi-God” to win the prize for costume at Baltimore’s “Bal de Arts”; and sketched out truly incredible ideas for two “Fancy Dress Costumes.” A New York Times art critic noted around this time, after seeing Reinhart’s work at the New York Water Color Club, “a closer intimacy than used to exist between the stage and the exhibition galleries” (New York Times 5 Nov. 1916: 67). Reinhart’s earlier paintings like “Dancing Slave” (1916), “Moment Musical” (1916), and “The Ballet” (1921) anticipate the NDG’s “Specter of the Roses”—which depicts <a href="https://en.wikipedia.org/wiki/Le_Spectre_de_la_rose" target="_blank" rel="noopener">a short ballet</a> of that name wherein the famous dancer Vaslav Nijinsky (as the spirit of a rose) leaped through a window at its conclusion. Reinhart’s work appeared in venues like the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago. In 1920 he was paired with <a href="https://en.wikipedia.org/wiki/Mark_Tobey" target="_blank" rel="noopener">Mark Tobey</a> for an exhibition at St. Mark’s Hall. Gradually, Reinhart’s attention turned towards commissioned portraits. Starting in 1947 and until his retirement in 1963, he was director of art at the Friends Seminary day school, New York. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-4" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Reinhart, Stewart, 1897-1970 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18251 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 158 Dancing Federal Art Project New Deal Gallery painting Stewart Reinhart