7 10 1402 https://openvalley.org/files/original/c974529cd0b4862fab670187d4999f17.jpg c84f3670a46ca5ec0a8486c42cd9bad7 https://openvalley.org/files/original/cc32374308206d8cacfd105539e9fafb.jpg 1a801b57eaf1a5715883ec2131e2db54 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 10 x 10 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seamstress Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 752 KB Description An account of the resource About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) 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 Pasiak, Olivia (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1104 Type The nature or genre of the resource Still image Fashion Federal Art Project Harold Anchel lithograph New Deal Museum Sewing Room https://openvalley.org/files/original/f5c730ae380fad6bcb3c5641a9bf7cc6.jpg f90b23e5f98e1d3f3223ac2ae251061b 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: 9 1/2 x 12 in. Frame: 15 x 18 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 News Description An account of the resource A man and a woman are peering at a newspaper. The woman stands behind the seated man as she softly holds his shoulder; by comparison, he grips the newspaper tightly. The print is a high-contrast black-and-white charcoal portrait that uses value and shading to create naturalistic shapes. Anchel creates texture in his piece by changing the direction and pattern of his lines—for example, modeling the shape of a shoulder. The newspaper is extremely bright and stands in star stark contrast to most of the print, making the man appear gloomier and darker. The source of the light could have been coming from a dim floor lamp based on its shadow.  We can infer that Anchel sought to convey intense emotion and deep concern from what is learned in the daily newspaper, probably a common experience during the Great Depression: it was a time when people truly never knew what was coming next.  Another thing to notice is the expression on the couple’s faces, and the way the man’s eyebrows curl in disbelief with a slight frown. The woman also seems distressed, yet calmer, offering support to the man with a kind, soft hand on his shoulder, firm yet comforting. She may be looking at him instead of the page. This body language can be seen as a nod to how women were expected to stay calm and offer emotional support to men, regardless of their own anxieties. Anchel’s print was extremely emotional for its time, acknowledging fears beneath New Deal optimism. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB 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 Drexler, Nora (description and biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 276 Type The nature or genre of the resource Still image Federal Art Project Great Depression Harold Anchel lithograph New Deal Gallery https://openvalley.org/files/original/4d9404eac4fdbfd0bc37f58f54d3399c.jpg e676a340a2ae61268c43b6ec54e22799 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 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 Light's Mill, Avon NY Creator An entity primarily responsible for making the resource Anderson Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 930 KB Type The nature or genre of the resource Still image Description An account of the resource Real-photo postcard shows a mill site alongside Conesus Creek where Emme Light rebuilt after a fire had destroyed an earlier one named "Glen Avon." He retained that name, and became well known for his trademarked varieties of flour: Peerless, Sweet Violet, Daisy, and White Rose. Sometime the operation was called "Light's Mill," as on this image. Ownership of the mill passed to sons John and William, then to his granddaughter Lucy (Light) McDonald who in 1949 leased it to a Dutch miller named George A. Bass. In 1951, the town of Avon purchased the mill for its more valuable Conesus Lake water rights, then sold the property back to Bass. Glen Avon ceased operations sometime around the late 1950s. The structure remains standing today as a private home. Avon, NY Conesus Creek Glen Avon Mills Light's Mill Littleville, NY Mill Postcards https://openvalley.org/files/original/339779640b982cb1c3efb899081a82de.JPG fade2cae0875019848a6014d6a6017dc 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 2873 × 2052 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 KM dance center on main street in Perry. Description An account of the resource A photo from in front of the dance center. Creator An entity primarily responsible for making the resource Andrew Gleason Publisher An entity responsible for making the resource available Andrew Gleason Date A point or period of time associated with an event in the lifecycle of the resource 2020-10-28 Format The file format, physical medium, or dimensions of the resource jpeg 1.3MB https://openvalley.org/files/original/072ab163baac1404844ddf64fc746f0f.jpg 2b84cbdaebaee986937d2effc88457a9 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 19 x 23 in. Condition: surface dirt, spotted 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 Birches in the Breeze Creator An entity primarily responsible for making the resource Andrews, Robert [D.] Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18111 Format The file format, physical medium, or dimensions of the resource jpeg, 986 KB Description An account of the resource Naturalistic landscape of idyllic lake is complicated by Andrews' use of impressionist blocks of color that flatten the picture plane into birch trees and a diorama behind them. Their leaf color suggests a time of late summer which, if true, helps explain a brown falling leaf suspended in the moment. About the Artist: We haven’t located much reliable information about this artist. He studied at the Art Students League and exhibited with the Salons of America and the Society of Independent Artists durin the early 1930s. Please contact us if you're able to help. Type The nature or genre of the resource Still image Federal Art Project New Deal Gallery painting Robert Andrews https://openvalley.org/files/original/dd2a09dda33e6a326feca4078040243a.jpg 31e5565ca90837037662aba5f0fb7470 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 3264x2448 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/. Creator An entity primarily responsible for making the resource angrit Title A name given to the resource Kilgore Texas Mural Publisher An entity responsible for making the resource available Pixabay Description An account of the resource Coca Cola advertisement mural painted in Kilgore, Texas. Date A point or period of time associated with an event in the lifecycle of the resource 2016-04-15 Source A related resource from which the described resource is derived https://pixabay.com/photos/kilgore-texas-mural-advertisement-761313/ https://openvalley.org/files/original/b9a8a1b79a6a043733e20f45605d0491.jpg 5a3525773982c4948d764b9cfc34e306 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 30 x 24 in. Condition: canvas dented, surface dirt, canvas torn 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 Pirates Haul Description An account of the resource This painting depicts a seascape scene in muted tones, its background a washed-out, cloudy sky with a blurred ship in the distance. The middle ground consists of a pastel-toned rocky bank and sea. In the foreground, four men are docked in a small rowboat: two are wearing red bandanas, two have oars in action, one man is holding a wooden chest. The person that is the closest and the most in focus, presumably their captain, is standing on shore with tools, two guns, and rope at his feet. It would seem that they're preparing to bury treasure for contemporary viewers to find. About the Artist: Born in Naples, Italy, Arcamonte stated his occupation as that of “decorator” when he immigrated to the US in 1906. That trade seems to have persisted alongside his aspirations as a painter, for many years in New York and then after World War II in Miami, FL. In 1937 his paintings were exhibited at the Opportunity Center, a program connecting artists “to the art collector of modern means and undertakes to produce works to fit special requirements” (New York Evening Post 5 June 1937: 7). 1 painting at <a href="https://godwinternbach.pastperfectonline.com/webobject/331640B8-9FDB-443A-81C5-554982521035" target="_blank" rel="noopener">Godwin-Ternbach Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Arcamonte, Humbert, 1883-1967 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) VanOstrand, Ravenna (biography) Cooper, Ken (biography) Ken Cooper (biographer) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #: FA18098 Format The file format, physical medium, or dimensions of the resource jpeg, 806 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 008 Federal Art Project Humbert Arcamonte New Deal Gallery Oil on Canvas painting seascape https://openvalley.org/files/original/16d464a0152be0d3de3c302fde63ac8a.jpg da54fca17044ec4458fab85f1718f40e 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 18.25 x 21.25 in. Condition: peeling, small rip 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 Checkerboard Cloth Format The file format, physical medium, or dimensions of the resource jpeg, 859 KB Description An account of the resource Not rendered with perfectly accurate optics, Archer’s still life nevertheless is a creative study in perspective and visual planes. Upon a table covered by the eponymous checkboard-patterned cloth, a crystal decanter and copper teapot sit incongruously next to each other. They are doubled in a mirror, complicated by its beveled edge  and angled walls “behind” our point of view; viewer and painter alike have been effaced from the reflections. About the Artist: Archer grew up in Sea Cliff, NY, received his training at Yale University School of Fine Arts, and then worked in New York City during the 1930s as a commercial artist, placing works in publications like the <a href="https://www.saturdayeveningpost.com/artworks/?artwork-artist=robert-p-archer&artwork-year=&artwork-theme=" target="_blank" rel="noopener">Saturday Evening Post</a>, Colliers, and This Week. Archer’s painting “Approaching Storm” was selected for two traveling exhibitions sponsored by the Museum of Modern Art: “Mystery and Sentiment” in 1940, and then <a href="https://www.moma.org/documents/moma_catalogue_2903_300061995.pdf" target="_blank" rel="noopener">“Romantic Painting in America”</a> (1943-1944). During World War II, he was Art Director of the Army Education Program in the Philippines. After the war Archer, along with the marine artist Charles J. Lundgren, opened a studio in Roslyn, NY that combined exhibition space with evening art classes. 1 work at <a href="https://americanart.si.edu/artist/robert-p-archer-127" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-31" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Archer, Robert P., 1905-? 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 #FA18112 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 022 Federal Art Project New Deal Gallery painting Robert P. Archer still life https://openvalley.org/files/original/5eed24cc7aebefb21863010c4b893ac1.jpg 3e6529a1f7a83f8426653d7ea5f212b1 https://openvalley.org/files/original/a29e800fd7af27040b24d59a02fdacc3.jpg 08c3c9d6cd3b63857dc1148dacf421db https://openvalley.org/files/original/7e5d2b3ded04c99bf3c8167de091098a.jpg f4e9e784eb2decf4c61e29f6c15be65a https://openvalley.org/files/original/e5ea9de5e2a045e74453d63128cd44ca.jpg 9bae30339fcb8a7c74bd104486d3dd64 https://openvalley.org/files/original/9b29ae09801ecb7397c0fb03452a35fc.jpg 2826aa50611be7c20e31b6766d46d0e4 https://openvalley.org/files/original/dd7e73eefc1dac19e7094cee3311866b.jpg 4e813a7f0a960b0730c87316d9b12993 https://openvalley.org/files/original/b93740be2360c0200838c3803627f598.jpg a6c1440d9124e496fde1fdcd9f9a533e https://openvalley.org/files/original/f3ef6be0b4a9e3fb83732fd5dd8109ed.jpg 53244e95d86a7ef2a91fcdfc37423e0e https://openvalley.org/files/original/db6514c7d57f510edd543d02be6fb329.jpg 09f398c874a4b41dd355d3866283a9a7 https://openvalley.org/files/original/659d4b114f7c5c7aaaba58d8a1d9524f.jpg 4ac74739e0ac5373753e45f840e0a7e0 https://openvalley.org/files/original/9c61dc7b620f5d2e43ce921eb90164d4.jpg e140eb40c22c94746feb7fbe9e0ee713 https://openvalley.org/files/original/cf2bb44b0b0b2d872aa47caf04d632f1.jpg 57cbf99d675df5a0f9d684c6243725ae https://openvalley.org/files/original/78ea854750159eac9c0258ae419365e7.jpg fcd4ecaa67fb221b2ae1fae2abda34b7 https://openvalley.org/files/original/ba4de1a6d8a06091e80b6f06e95a7252.jpg a33b353128b2298e0b2553c613ded487 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 Geneseo Through The Ages Description An account of the resource A collection of photographs of Geneseo during the 20th century. Creator An entity primarily responsible for making the resource Argentieri, Elizabeth; Keane, Jordan https://openvalley.org/files/original/2bcc85d016aee78250f25f00df505d18.jpg ce442938fe7935f387f58d8e7e2c9b4b 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 Digital photo 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 Ossian State Forest Description An account of the resource Sharing a border with the Rattlesnake Hill Wildlife Management Area, this 1,300-acre tract similarly was created during the 1930s. Under the State Reforestation Act, nine different owners were bought out between 1930 and 1946, creating a mixed-use area combining timber cutting and recreation. The photograph here was taken near Ossian Pond. Creator An entity primarily responsible for making the resource Arhur, Andy Date A point or period of time associated with an event in the lifecycle of the resource 2013-10-15 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://andyarthur.org/explore/ossian-state-forest" target="_blank" rel="noopener">Courtesy of AndyArthur.org</a> Format The file format, physical medium, or dimensions of the resource jpeg, 685 KB Type The nature or genre of the resource Still image New York Department of Environmental Conservation Ossian State Forest State Reforestation Act