7 10 1402 https://openvalley.org/files/original/884c2ddf765696b7bb262562a08961c8.jpg b028671db6f4860e3d811b0e4adc2784 https://openvalley.org/files/original/7b3129ed2930f74b2766a0d554e56767.jpg 7413a9b8195a99215c4b801aa760f774 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 11 3/4 x 9 1/2 in. Framed: 21 x 17 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 Storm Over Provincetown Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 467 KB Description An account of the resource This lithograph features a view of two small Provincetown homes, seemingly situated in a village, with a deep storm brewing overhead. Though not overtly noticeable, there is a man traipsing between the shacks on what appears to be a first road. This dirt road is one of the strongest lines in the lithograph, bending into the scene and drawing the viewer in. There is a strong contrast in the values of this piece: the faces of the homes are in full light, but their sides are cast into nearly full shadow. The clouds overhead are also very dark, which makes the scene even more ominous. The shapes in this piece are very clear in the form of the houses, but become more nondescript and chaotic in the clouds and ground. The piece feels slightly top-heavy in terms of balance, though even laterally. Noticing the small details in this piece creates a fuller sense of its story than what is available at first glance. The trees sway slightly, and the leaves are pulled horizontally, which implies high winds, and the juxtaposition of the small bolt of lightning next to the powerlines creates a subliminal sense of danger. There is also an emptiness beyond the lonesome man, which prompts the viewer to consider how everyone in this town, whom we cannot see, is faring in this storm. 11 images at <a href="https://art.gsa.gov/people/1415/john-worthington-gregory/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Gregory, John Worthington (1903 - 1992) 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 Hejaily, Monica (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1271 Type The nature or genre of the resource Still image Federal Art Project John Worthington Gregory lithograph New Deal Museum Provincetown, MA https://openvalley.org/files/original/c17684fa324a8c3cc21697a9585d0083.jpg 6c0b38a6e291948d74ed2588d35c5745 https://openvalley.org/files/original/f4024768bfae26467ba381fa2cff9536.jpg ed3ecdd19e740fd30f55f20d74eec59a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Color woodcut on paper Physical Dimensions The actual physical size of the original image Image: 11 x 13 3/4 in. Sheet: 15 1/2 x 18 3/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Girl Sewing Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.3 MB Description An account of the resource Bernard Schardt’s graphic art "Girl Sewing” displays Schardt’s style the most, showing an African American woman at home sitting alone in her home sewing. Schardt print here is a color wood cut which was a popular choice among artists during this period. Which is why Schardt chose a geometric style especially in the background of the print. Schardt uses bright colors such as orange and blue for her dress, as well as with the couch. However, the floor and furniture use darker colors, to show the mundaneness of the scene unfolding. The subject is casual clothing, nothing that seems to be expensive or extravagant, and she is wearing slippers. Schardt uses the space in the painting, with the subject dominating it. Schardt doesn’t choose an exciting scene nor a happy subject, he stresses the ordinariness of the girl. The girl could be another face in the crowd, and that is what makes her the perfect subject for this specific period. Schardt's focus during this time is to display the ordinary and the unseen, which is why his use of the subject taking up the entirety of the print making the viewer focus on someone they might never have before. 12 images at <a href="https://art.gsa.gov/people/2325/bernard-p-schardt/objects" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Schardt, Bernard P., 1904-1979 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Lay, Giavanna (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1491 Type The nature or genre of the resource Still image Bernard P. Schardt Federal Art Project lithograph New Deal Museum https://openvalley.org/files/original/4d48d9bb768487e01c075aaebc055931.jpg 64fa56ba251043ab0d6ab9b1f34732df https://openvalley.org/files/original/075cc50158dca2a14e6a096e6edb98a9.jpg f543e071d374a4afbc3a42e90f4655b8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas Physical Dimensions The actual physical size of the original image Canvas: 24 x 20 × 24 in.  Frame: 25 1/8 x 21 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Third Avenue El 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 1934 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.3 MB Description An account of the resource Third Avenue El, set in New York City, features the corner of an intersection with four uniquely colored buildings. One has a brick-like color and texture, and the rest with uncommonly bright colors like pale blues, greens, and reds. These bright colors give the painting a calming and happy mood. The townhouse-style buildings include a few small businesses, such as a laundry and a shop. The scene is set in the winter, with snow on the streets and people bundled in hats and coats as they walk along the sidewalks. Sunlight shines directly on the buildings, making the colors appear even brighter and emphasizing the whiteness of the snow. The viewer’s point of view is at eye level with the buildings, which makes the facial features of the people on the sidewalks blurry and shifts attention toward the overall layout of the street. This perspective helps the viewer understand the space of the scene while still feeling slightly detached, as if observing from just above street level. The street is not crowded, and the people are spaced out, one couple holding hands, another talking, and a few standing by themselves. The three-dimensional buildings bring out sharp lines that define the angles in the foreground, while the softer gray corner building draws attention to the elevated railway train crossing Third Street. The horizon has more buildings in the background, darker in color and cast in shadow, offset by the bright blue sky above them. The color of the sky brings the overall mood of the painting together, creating a sense of peace and happiness through its light, beautiful blue. Creator An entity primarily responsible for making the resource Nelson, Carl Gustaf (Simon), 1898 - 1988 Source A related resource from which the described resource is derived New Deal Museum Mount Morris NY Object #FA 125 https://openvalley.org/files/original/be8f6268966f60be2e7bbb2b423310f3.jpg c90c2ae125029337758e621be77b700c https://openvalley.org/files/original/92064da9f1000ba04bbf8ba5b79e4021.jpg 7a42579dbdcb3866dd0b89b9f6f37368 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 Aquatint in paper Physical Dimensions The actual physical size of the original image Image: 9 x 12 in. Sheet: 11 x 15 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 Practicing Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 1.6 MB Description An account of the resource Inside a home, a woman plays the upright piano while her dog rests at her feet, creating an intimate and cozy scene shaped by concentration and routine. A single lamp casts a limited pool of light across the piano, leaving the rest of the room in shadow and drawing the viewer’s attention to her focused posture and the sheet music in front of her. The music she’s playing is titled Sonata 3 by Botts, giving a subtle hint toward the artist himself. The book next to her music is titled “Study, WPA 1938 NYC” by Botts, along with an agility exercise book behind it. By putting his own name on the sheet music, Botts has inserted himself into the print while also blurring the line between the woman’s artistic practice and his own. By placing his name on the music she plays, Botts suggests a connection between creating art and performing it, positioning himself as both observer and participant in this domestic moment. The composition reinforces this sense of closeness: we see her in profile from only a few feet away, as if we are standing beside her. Small details like the soft wooden texture of the piano, the patterned rug beneath the damper pedal, and the individual hairs on the dog deepen the cozy domestic atmosphere. Even the metronome mid-swing emphasizes rhythm, discipline, and the steady labor behind artistic work. Together, these elements create a scene not just of a woman practicing music, but of the intimate, concentrated world of artistic creation that Botts subtly aligns with his own identity. About the Artist Born in New York City in 1903, Hugh Pearce Botts was an accomplished American artist. He studied at Plainfield High School in New Jersey and Rutgers University and later received his formal art training at the National Academy of Design. His teachers included Roy Hilton, Charles Curran, Charles W. Hawthorne, Ivan G. Olinsky, and William Auerbach-Levy, whose diverse approaches, from impressionism to portraiture to caricature, shaped Bott’s development as a painter and printmaker. Botts went on to work with various institutions, including the Carnegie Institution, Queens College, Princeton University, Pennsylvania State University, Syracuse University, and the American Museum of Natural History. His professional work ranged from landscapes, cityscapes, and industrial architecture to portraits of working-class subjects. He also created prints that depicted scenes of home life, often using cartoon-like facial features to express emotion and concentration. This expressive quality is especially visible in his <a href="https://nationalacademy.emuseum.com/people/1149/hugh-pearce-botts" target="_blank" rel="noopener">self-portrait</a>, painted in oil on canvas. 94 works and sketches at <a href="https://magart.rochester.edu/artist-maker/info/42?sort=3" target="_blank" rel="noopener">Memorial Art Gallery</a>. 18 works at <a href="https://collections.newarkmuseumart.org/search/Botts" target="_blank" rel="noopener">Newark Museum of Art</a>. 3 works at <a href="https://onlinecollections.syr.edu/advancedsearch/Objects/people%3Abotts" target="_blank" rel="noopener">Syracuse University Art Museum</a>. 2 works at <a href="https://americanart.si.edu/artist/carl-gustaf-nelson-3511" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 8 images at FAP. 6 images at <a href="https://art.gsa.gov/search/botts" target="_blank" rel="noopener">GSA</a>.  Creator An entity primarily responsible for making the resource Botts, Hugh Pearce (1903 - 1964) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Buffone, Jasmine (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1131 Type The nature or genre of the resource Still image Federal Art Project Hugh Pearce Botts lithograph New Deal Museum https://openvalley.org/files/original/992b518e42e958170c107459baad1eb4.png 865623707b87b87b81ce16b9c334b442 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on canvas 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 Alice at the New York Public Library Creator An entity primarily responsible for making the resource Champanier, Abram (1896 - 1960) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1938 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Collection of the Public Design Commission of the City of New York Photograph by Conservator Denise Whitbeck, Farancz Conservation Studio <a href="https://www.roosevelthouse.hunter.cuny.edu/exhibits/healing-walls-health-art-new-deal-new-york/" target="_blank" rel="noopener">Via Roosevelt House, Hunter College</a> Description An account of the resource Abram Champanier was a Polish immigrant who studied at the Art Students League and went on to become a well-regard muralist. During his time at the Federal Art Project he was assigned to create murals at DeWitt Clinton High School and the New York City Parks Department. The image here records one of the sixteen panels he created for the pediatric ward at Gouverneur Hospital, located on the lower east side of Manhattan. It was based upon the Lewis Carroll book Alices Adventures in Wonderland (1865), and begins with Alice and other characters being invited out of a book to visit "another wonderland--New York." Besides the one shown here, with the New York Library's lion sculpture interacting with Alice, there are scenes set on the subway, Liberty Island, and The Empire State Building. One has Alice and her friends flying above the city. By the 1960s Gouverneur Hospital had become outdated and, despite the efforts of preservationists, the building was slated for demolition. A last-ditch effort by the New York City Landmarks Commission and the Art Commission was able to save all but one of the panels, which now are housed in various locations. Source Consulted: Harold Holzer, "Healing Walls: Health and Art in New Deal New York," Roosevelt House Public Policy Center (2022) <a href="https://www.roosevelthouse.hunter.cuny.edu/exhibits/healing-walls-health-art-new-deal-new-york/" target="_blank" rel="noopener">Link</a> Format The file format, physical medium, or dimensions of the resource png, 2.3 MB Type The nature or genre of the resource Still image Abram Champanier Alice in Wonderland Federal Art Project Hospital Mural New York https://openvalley.org/files/original/f9a2eef07399e3141e2d586b2ff8ec18.jpg ae7ae2af581abc825b1923a0b7653e29 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 Movie poster Physical Dimensions The actual physical size of the original image 27 x 41 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 Poster Art for Snow White and the Seven Dwarfs Creator An entity primarily responsible for making the resource Tenggren, Gustaf (1896 - 1970) Publisher An entity responsible for making the resource available Walt Disney Productions / RKO Radio Pictures 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://commons.wikimedia.org/wiki/File:Snow_White_and_the_Seven_Dwarfs_(Style_B)_poster.jpg" target="_blank" rel="noopener">Courtesy Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB Description An account of the resource Walt Disney's first full-length animated film is famous for many reasons: its sophisticated background artwork and human modeling; a story that proved audiences could sustain interest for more than a few minutes. Not least, it was wildly profitable: the top-grossing film of 1938, and still in the top ten all-time when adjusted for inflation. Snow White's commercial success provided Disney funding to build his own studio, and opened the way for subsequent animated features--many of them by Disney. Perhaps lost in its animated history is Snow White's creation during the Great Depression. The dwarfs toil every day, mining jewels for the queen, yet live in poverty; still they maintain an upbeat attitude and sense of camaradarie. Art historian <a href="https://www.pbs.org/wgbh/americanexperience/features/snow-white-ideal-1930s-woman/" target="_blank" rel="noopener">Carmenita Higginbotham</a> calls Snow White a reflection of women during that decade: hard-working and capable, yet not politically confrontational. Even her beauty is rooted in the period's fashion.  This illustration is in OpenValley for its strikingly similar design to a pair of artworks by New Deal artist Ruth Harper: a 1936 <a href="https://openvalley.org/items/show/2088" target="_blank" rel="noopener">fairy-tale mural</a> with Cinderella's castle at its center, and a 1941 <a href="https://openvalley.org/items/show/2095" target="_blank" rel="noopener">oil painting</a> with Dorothy Gale and the Royal Palace. Type The nature or genre of the resource Still image Animated Film Fairy Tale Ruth Harper snow white Walt Disney https://openvalley.org/files/original/a01b5fdf048971bb8a18498e900bb98d.jpg 237f85a4642b0714f42557d72e1a10a5 https://openvalley.org/files/original/499154451886df670ac99388b5442a69.jpg e3191fe506c7eef4cd68c92287ea2a76 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 Print etching Physical Dimensions The actual physical size of the original image Image: 10x 13 in Framed: 17 x 21 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Sokoloff Conducting Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg 299 KB Creator An entity primarily responsible for making the resource Sherman, Effim H. 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 Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1509 Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/search/%22effim%20h.%20sherman%22" target="_blank" rel="noopener">GSA</a>.  Effirm H. Sherman Etching Federal Art Project Music New Deal Museum https://openvalley.org/files/original/06d0b5b794d6e608f8e0a1b1a17b8f66.jpg 5043a8a79e61ed0a0ad6efc40a15c50f https://openvalley.org/files/original/9763db64a1c1c788b71115008d02229d.jpg 362ee2ddb27b89b64a7458c0824a2feb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 12.5 x 9.75 in. Sheet: 16 x 11.5 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 Cliffs by the Sea Format The file format, physical medium, or dimensions of the resource jpeg, 2.2 MB jpeg, 2.1 MB Description An account of the resource About the Artist Born Mabel Jacque Williamson in Cincinnati, OH, Dwight was one of the more controversial and prolific lithographers of her time. She studied painting at the Hopkins School of Art in San Francisco, CA in her twenties, travelling to Paris, Egypt, India, and other destinations after her studies. She married Eugene Higgins in 1906 before divorcing in 1921, when she changed her last name to Dwight (for reasons unknown). Even before making art full time, she had become a champion of socialist art and ideals, inspired by her time in college. “I was born with a hatred for the duality of poverty and riches,” she recalled. In 1926, at the age of fifty, Dwight began making her first lithographs and by 1928 her work was displayed at the Weyhe Gallery in New York City. Dwight’s main subjects were the ordinary residents of New York City, depicting their lives during 1920s opulence and then the Great Depression. Dwight’s lithographs offered an unflinching, documentary view that was suffused with social commentary. As she later explained, “There are always artists who cannot be satisfied with the credo of art for art’s sake. They must tell stories, express opinions, and ‘take sides’” (“Satire in Art” 151). Dwight observed, however, that the great satirists like William Hogarth rarely made use of “arbitrary distortion,” and her lithographs usually had realistic and inclusive features—such as rounded forms and subtle lighting—that create unity among its subjects. Dwight brought complex social issues to an accessible medium with subtlety and artistic integrity. Dwight was employed by the Federal Art Project (1935-1939) and was a member of the American Artists’ Congress, which championed socialist policies and promoted artists’ rights. By the end of her career in 1941, she had created more than a hundred lithographs collected at a variety of museums and universities. 27 works at <a href="https://whitney.org/artists/388" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 19 works at <a href="https://www.metmuseum.org/art/collection/search?q=%22mabel+dwight%22&offset=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 20 works at <a href="https://americanart.si.edu/search/artworks?content_type=artwork&persons%5b%5d=2611" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 23 works at <a href="https://www.cartermuseum.org/artists/mabel-dwight" target="_blank" rel="noopener">Amon Carter Museum</a>. 20 works at <a href="https://www.nga.gov/artists/6498-mabel-dwight/artworks" target="_blank" rel="noopener">National Gallery of Art</a>. 10 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-37" target="_blank" rel="noopener">FAP</a>. 34 images at <a href="https://art.gsa.gov/people/47/mabel-dwight/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted:Mabel Dwight, “Satire in Art," in Art for the Millions: Essays from the 1930s by Artists and Administrators of the WPA Federal Art Project, ed. Francis V. O'Connor (1973) <a href="https://archive.org/details/artformillionses00ocon/page/151/mode/1up" target="_blank" rel="noopener">Link</a>; David Herman. “Mabel Dwight: Art as a Living Influence on the World,” Greenwich Village Society for Historic Preservation (2026) <a href="https://www.villagepreservation.org/2026/03/18/mabel-dwight-art-as-a-living-influence-on-the-world/" target="_blank" rel="noopener">Link</a>; Library of Congress, Life of the People: Realist Prints and Drawings from the Ben and Beatrice Goldstein collection, 1912-1948 (1999) <a href="https://archive.org/details/lifeofpeoplereal0000unse/mode/2up?q=%22mabel+dwight%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Dwight, Mabel (1876-1955) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Scamardo, Sam (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1195 Type The nature or genre of the resource Still image Federal Art Project lithograph Mabel Dwight New Deal Museum Nude https://openvalley.org/files/original/75cadfc8f69db685424fc880eb5b3cb9.jpg 5d165e652c5d326495677a61f18f9d12 https://openvalley.org/files/original/b2e3ccc8330428115fe4a8118ccecd14.jpg 3cfd796f1c4b867963ccf442880bc17c 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 on paper Physical Dimensions The actual physical size of the original image 5.5 x 7 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 Figure Subject Description An account of the resource Figure Subject is a print that showcases a nude woman looking off as she rests her arms and stands on a windy brick ground, barefoot. Wiltz plays with perspective by not having the road directly lead to the background--he even has the supposed ground blend in with a bridge. The woman’s body is split into muscle-group areas, creating distinct differences in different parts of her body. She is leaning on what looks like a wood structure, like a table, until you look closer and realize that it is stacked steel beams with a birdcage-like structure in front of it, creating the illusion. The print is composed in black and white, which seems to highlight the mundanity that is juxtaposed with the nude woman in a public space--which isn’t quite a real spot--and evokes how mass industrialization must felt. Public spaces were becoming unrecognizable. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 803 KB Creator An entity primarily responsible for making the resource Wiltz, Arnold (1889 - 1937) 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 Loucks, Paige (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1581 Type The nature or genre of the resource Still image Arnold Wiltz Federal Art Project lithograph New Deal Museum Nude https://openvalley.org/files/original/79c83d47a9ac4368b796e822eb684cde.jpg afb7fa8e29f36d4bc8678b0f2f58b00f https://openvalley.org/files/original/2f8e9ab0ee0f7a228008dabef453aaf4.jpg 5c923118ea8c6e42b5a1f92e09a51376 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting on canvas Physical Dimensions The actual physical size of the original image 26 x 20 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Green Mountain Village Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 969 KB Description An account of the resource A gray sky overlooks the main street of a small mountain town, rendered by Prestipino with flat shapes and minimal shading. The unrealistic proportions and perspective in the painting give the image a visual appearance that evokes American folk art, which employs similar formal techniques. In the village, several old men and a few young women with an infant are gathered. In the middle of the painting is a building with a prominent clock tower topped in goldwork, perhaps the town’s city hall. A tiny figure can be made out working on the side of the tower. Behind the town hall are a few buildings which appear to be mixed use for residential and commercial purposes. On the far left side of the painting, a man sits on a rocking chair on the porch of a house which also sports an oval blue “Ford” sign, the sole source of ‘branding’ in the image.A heavy-set man stands facing away from the viewer in the bottom center of the painting, his large posterior on prominent display. Perhaps the proximity of the substantial buttocks in the composition to the state building presents some sort of sly political commentary on Prestipino’s part? About the Artist Gregorio Prestipino was born in 1907 to Sicilian immigrants Antonino Prestopino and Letteria Rando, who raised the boy in Little Italy in New York City. Prestipino’s career in the arts was kickstarted when he received a scholarship to the National Academy of Design in New York. At this renowned institution, the burgeoning painter had the opportunity to study under the guidance of portrait and genre painter  C.W. Hawthorne. Drawing from the works of 16th-century artist Pieter Bruegel as well as contemporary urban scenes he observed in Manhattan and Harlem, Prestipino created social realist paintings with a cubist influence that depicted, in the words of historian Irma B. Jaff, “the human condition with a warmth tempered only by honesty." A series of paintings depicting scenes from a New York State prison was featured in Life magazine in 1954, a major achievement for Prestipino. The same year, Prestipino served as the director of the MacDowell Colony - America’s first artist-in-residence program, located in Peterborough, New Hampshire. In recognition for his body of work, Prestipino was awarded the Rome Prize in 1972, which allowed him to further his studies with a residency at the American Academy in Rome. In addition to the serious topics he tackled, Prestipino also produced fanciful paintings and illustrations for children; his 1937 mural work depicting Mother Goose rhymes adorned the Infant Pavillion of the Welfare Island hospital in New York, and he provided whimsical illustrations for the 1968 picture book The Reluctant Dragon. Gregorio Prestinio passed away in 1984 at the age of 77. Creator An entity primarily responsible for making the resource Prestopino, Gregorio, 1907 - 1984 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Casey, Meaghan (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 403 Type The nature or genre of the resource Still image Federal Art Project Gregorio Prestopino New Deal Museum painting Vermont