69 10 1402 https://openvalley.org/files/original/9938aef08b88ba41f38f3b3f1368785a.jpg 74fa71643b0ba418cb4484c537ec42e7 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 of oil painting 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 Junk Yard on East 29th St. Description An account of the resource Nearby to many of New York's factories, power plants, and slaughterhouses, there's an obvious social ecology to Myers' choice of location. It's possible that the photographic of this painting may have mis-titled it, given frequent references to a Junk Shop. About the Artist: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener">Jerome Myers Memorial Exhibition 3</a>). Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Myers, Jerome, 1867-1940 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 Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 16, Folder 43.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 267 KB Type The nature or genre of the resource Still image Federal Art Project industrialization Jerome Myers New Deal Gallery Oil Painting https://openvalley.org/files/original/c6a01f9e40265bb92e7e68fe5759f005.jpg a1c8c49d56811b6bda66f20a46662307 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 740 × 492 pixels 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 lone tree Description An account of the resource A view of the Great Plains in Nebraska. Creator An entity primarily responsible for making the resource Doug Stremel Publisher An entity responsible for making the resource available Flickr Date A point or period of time associated with an event in the lifecycle of the resource 2005-11-21 Source A related resource from which the described resource is derived WIkipedia Format The file format, physical medium, or dimensions of the resource jpg, 238 KB https://openvalley.org/files/original/1ea55e7feaaa8abee4d15a1fd776b9b1.jpg 05cabdf0363c8c697559f34be8e3bca4 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 Breaking Sod Description An account of the resource "<a href="https://www.hppr.org/post/start-another-great-plow-great-plains" target="_blank" rel="noopener">Breaking ground with a Reeves steam tractor pulling a 12 row sod-busting plow in Haskell County, KS the very early 1900’s.</a>" Creator An entity primarily responsible for making the resource Center for Great Plains Study Publisher An entity responsible for making the resource available F.M. Steele Date A point or period of time associated with an event in the lifecycle of the resource 1900-1930 Format The file format, physical medium, or dimensions of the resource jpg, 72.6 KB https://openvalley.org/files/original/3108cfcb9d495a9cdff75ad659d7d76a.jpg 6c353809ba6ed40d88d58893215ee13d 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 12.5 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 House on a Hill Format The file format, physical medium, or dimensions of the resource jpeg, 775 KB Description An account of the resource This scene at the edge of a forest is drawn using remarkably sparse details, for example a few brushstrokes evoking a vegetable garden, a house, or a hill. Much of Nakagawa’s attention has been devoted to dense and multicolored foliage at left and right—the only neighbors depicted here. The red object (or figure) in the woods isn’t clear. Sinuous unpainted and scraped lines are integral to the watercolor’s design. About the Artist: We haven’t located much reliable information about this artist. He exhibited his work at the Salons of America (1928), Chrysler Gallery (1932), and the Municipal Art Committee (1936). Ruth L. Benjamin described him as painting “portraits and still life, but seems to be at his best in landscape work” (Parnassus 7.5 [1935]: 15). He may have lived in Los Angeles beginning in the late 1930s. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-4" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nakagawa, Kikuta, b. 1888 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 #FA18217 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 124 Federal Art Project Kikuta Nakagawa Landscape Art New Deal Gallery Watercolor https://openvalley.org/files/original/339e7d06f126454354216861be4dcaab.JPG 447133d54abf8e2e1d485295853e8aff 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 Monoprint 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 Small Inlet Format The file format, physical medium, or dimensions of the resource jpeg, 942 KB Description An account of the resource The size of this inlet isn’t clear because of perspectival ambiguitiess: if the two houses at left are modest in scale, then the boats across from them either are tiny or far in the distance. Regardless, in the distance we see perhaps three or four dozen homes surrounding a cozy body of water, gentle hills behind them. Another odd feature of the monoprint is the lush, green foliage in the trees at left compared to several others in a harsher hue. About the Artist: Born in Gunma Prefecture, Japan, Nagai immigrated to the US in 1906, initially with a plan to study law but soon returning to his love of art—a grandfather and uncle both had been painters. In New York he studied at the Art Students’ League with <a href="https://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)" target="_blank" rel="noopener">Thomas Hart Benton</a> for five years, whose influence can be seen in Nagai’s “Picnic” (1929) with its treatment of massy figures arranged in deep space. In 1928 the Brooklyn Daily Eagle’s art critic, Helen Appleton Read, singled out Nagai’s painting “Tea” as one of three “discoveries” from more than 1,000 exhibits at the Society of Independent Artists. He went on to exhibit at the Corcoran Gallery, Art Institute of Chicago, the Brooklyn Musuem of Art, and the ACA Gallery, among many venues. His “Japanese Landscape” appeared in a 1939 FAP exhibit on Long Island, focused upon farms and rural life; fellow NDG artists Louis Harris, Bena Frank, and Herman Copen also appeared. Many of In 1936 Nagai signed the Call for the <a href="https://en.wikipedia.org/wiki/American_Artists%27_Congress" target="_blank" rel="noopener">American Artists’ Congress</a>, an anti-fascist popular front organization. Near the end of his life Nagai and his artist wife Paula Rosen retired to Orlando, FL area. 1 work at the <a href="http://collection.whitney.org/artist/934/ThomasNagai" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-2" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Nagai, Tomizo (“Thomas”), 1886-1966 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18216 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 123 Federal Art Project Landscape Art New Deal Gallery Tomizo "Thomas" Nagai https://openvalley.org/files/original/06dd5bfa3fa47f6df8977e322947f5eb.jpg 8d7f4100596795ce6601920e4e526462 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 Engraving Physical Dimensions The actual physical size of the original image 15 x 7.5 in. Condition: surface dirt on glass 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 Oyster House (The Dock) Description An account of the resource We see a dock or port building with two ships moored. Jones uses ink sparingly, but cross-hatches aggressively to convey the dark paint of the dock and shadows on the water. For lighter objects, he implies more than illustrates shape through his clear mastery of weight and shadow—the water, the sky, and the grass are left as negative space—upon blank white paper, with only a few lines scattered to imply shape and texture. The mountains at the edge of the canvas, too, lose definition and shape, vanishing into loose lines towards the left, but remain stark as they fade out of view within frame. The dock building itself commands attention at the center of the canvas, it’s entrance face rounding out the right side of the composition, its dark shading balancing out the stark white of the smaller ship and the water. The contrast of the water, mountains, and dock is surprisingly uniform across the canvas, as Jones masterfully balances positive and negative space—he leaves enough blank to not let ink dominate the canvas. A note about the painting: for at least twenty-five years this etching has been listed as missing; it was re-located in April 2019. It probably depicts the <a href="https://portjeff.com/wp-content/gallery/business-historical-photos/2011-8-94.jpg" target="_blank" rel="noopener">Suwasset Oyster Company</a> in Port Jefferson, NY, which was destroyed by winter storms in 1934. About the Artist: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener">Monkey Shines</a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. He lived for many years in Port Jefferson, NY. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 work at the <a href="https://www.mfa.org/collections/search?search_api_views_fulltext=leon+foster+jones&title=&culture=&artist=&creditline=&accession=&provenance=&medium=" target="_blank" rel="noopener">Museum of Fine Arts, Boston</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Jones, Leon Foster, 1871-1940 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photogrphy) Vanamee, Nicholas (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Engraving Federal Art Project Green New Deal Leon Foster Jones New Deal Gallery https://openvalley.org/files/original/2c4ecbe370f3e9fb47f5cd67da69925e.JPG 0da6179bc805164ea817662290da3967 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 x 32 in. Condition: spotted, 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 The Copper Jug Format The file format, physical medium, or dimensions of the resource jpeg, 997 KB Description An account of the resource The objects in this still life are candidly imperfect: all the bananas have spots; the apples are mottled or appear to have bruises. Still, their colors are vibrant and the table is replete. More of Kallem’s attention has been devoted to less-than-perfect reflections, in ghostly shades upon a table or in the copper jug. Reflected in the jug, it appears that we see the painter in silhouette, with light coming in from a window over his right shoulder. About the Artist: Born in Philadelphia to immigrant parents, Kallem learned to paint from his father Morris, a portraitist (his brother was the sculptor <a href="http://www.terenchin.com/2015/12/16/herbert-kallem-1909-1994/" target="_blank" rel="noopener">Herbert Kallem</a>). He studied at the Pennsylvania Academy of the Fine Arts. At some point during the 1920s the family  moved to New York where Henry set up and likely lived in a studio. He became friends with modernist artists who have come to be called the “28th Street” group because they gathered at the Henry and David Rothman Frame Shop at that location. Like many other artists, Kallem’s subject matter during the Great Depression became more explicitly political; his paintings included “The Sweatshop,” “Subway Construction,” and “Mill Town”—the latter appearing in a 1939 show at the Federal Art Gallery with NDG artists Harold Baumbach, Bena Frank, and James Guy. Starting in 1938 he was part of a five-person group that called themselves the “New York Realists”: Kallem, Max Frankel, Herbert Kallem, <a href="https://americanart.si.edu/artist/morris-neuwirth-3522" target="_blank" rel="noopener">Morris Neuwirth</a>, and <a href="https://thejewishmuseum.org/collection/artist/morris-shulman-american-1912-1978" target="_blank" rel="noopener">Morris Shulman</a>. He also joined a working group of artists encouraging closer cooperation with the American Labor Party. During World War II Kallem worked as an aircraft factory toolmaker, then returned to painting. In a nationwide 1947 competition, his <a href="https://books.google.com/books?id=a0YEAAAAMBAJ&pg=PA103&dq=country+tennement+henry+kallem&hl=en&sa=X&ved=0ahUKEwjhzuSi_tXcAhUFmVkKHcTiBlIQ6AEIKzAA#v=onepage&q=country%20tennement%20henry%20kallem&f=false" target="_blank" rel="noopener">“Country Tenement”</a> was awarded first prize and prompted controversy due to this mainstreaming of abstract art. The controversy also may have been due to its gritty content, for Kallem said, “My idea was to show how I felt upon seeing this scene one evening in the country—all the people crowded into one building with all that space around”(“Prize”). His postwar work moved in the direction of formal abstraction and landscapes, the two not necessarily separate. In 1955, a review called his paintings “subtle, quiet affairs, in which he achieves movement and depth through relationships of graded tones and colors. The approach seems free and easy, but there is a lot more to his work than first meets the eye” (Driscoll). 2 works at <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3/" target="_blank" rel="noopener">Portland Museum of Art</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-9" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Edgar Driscoll, Jr., “Copley Society Presents Pleasing Members’ Show,” Boston Globe 9 Jan. 1955: 39; “Prize Art Satirizes the Housing Shortage,” New York Evening Post 30 Sept. 1945: 5 Creator An entity primarily responsible for making the resource Kallem, Henry, 1912-1985 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 #FA18188 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 095 Federal Art Project Henry Kallem New Deal Gallery painting still life https://openvalley.org/files/original/bbbdd3b5c508af7c02e9d3f996057460.JPG 4e05bb649889fc1320100ca865ca1fd9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: torn, 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 July Flowers Format The file format, physical medium, or dimensions of the resource jpeg, 957 KB Description An account of the resource This dramatic still life is created using bold brush strokes and skillful blending, combined with high-contrast lighting. Two vases—one of gladiolus, the other filled with yellow roses—sit upon a small table near a brick wall and arched window. A stem without a rose blossom lies alone, enigmatically. About the Artist: Born in St. Petersburg, Russia, Kadulin attended art schools in Moscow and Kiev, then turned to a career as a cartoonist for one of Petrograd’s leading newspapers. Postcard versions of his cartoons became very popular. His work seems to have been a mix of political and social satire—for example a “drunken series” or “student types”—and it seems likely that his irreverent sense of humor is what led him to flee the Soviet Union. At this point information becomes scarce. In 1924, five of Kadulin’s caricatures appeared in a New York Times story on <a href="https://nyti.ms/2S6b0ih" target="_blank" rel="noopener">“Festivals and Parades in Russia”</a>; lacerating images of (for example) a “Red Army Soldier in Full Regalia,” bottles of alcohol in each hand, suggest that he was deeply critical of the new regime. There is record of Kadulin being hired in 1926 by a new Tampa restaurant named Katinka to create interior and exterior wall murals using his talent for caricature. It’s quite possible that he lived in Tampa for a period: he traveled to Florida by way of Cuba in 1930, was married in Havana 1931, then traveled again to Florida 1932. Kadulin became a US citizen in 1938. As of 1942 he was living in New York City, then in New Rochelle as a commercial artist. 42 caricatures at <a href="https://commons.wikimedia.org/wiki/Category:Caricatures_by_Vladimir_Kadulin" target="_blank" rel="noopener">Wikimedia</a>. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-6" target="_blank" rel="noopener">FAP</a>.               Sources consulted: Anna Louise Strong, “Festivals and Parades in Russia,” New York Times 26 Oct. 1924: 132. Creator An entity primarily responsible for making the resource Kadulin, Vladimir Fedorovich, 1884-1957 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 #FA18187 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 094 Federal Art Project New Deal Gallery painting still life Vladimir Kadulin https://openvalley.org/files/original/2c11cea3dc262cfaad992225b113247d.jpg 5807e625b53e22ad13e7d43d26e20b23 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 23.5 x 19.5 in. Condition: slightly cracked canvas 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 November Scene Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource The center of this landscape is a tree with gold and yellow leaves, a few just turning to orange. Nearby bushes already have dropped their leaves, allowing for views across a pond or river to the other shore, and mountains in the far distance. Everything except the foreground is painted in hues of blue, white, and green—the better to set off the blaze of color in front of us. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, then in 1913 teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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 1936-12 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 #FA18235 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 142 Claude A. Patterson Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/85a2e8048c8bcd2ff6908e2ac529151b.jpg e3c9e67f8d532c0270312e92e9b9ed9b https://openvalley.org/files/original/e594abc60b62eeb20e826eeca691be27.jpg 6144c5b353654d3a3f1abdb76ab62bdf 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/. Title A name given to the resource Back of Erna Lange painting 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) Stern, Alison Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 791 KB jpeg, 521 KB Type The nature or genre of the resource Still Image Erna Lange Federal Art Project New Deal Gallery