71 10 1402 https://openvalley.org/files/original/46d96c9d1627f2d4e70561207f3f1ae2.png 6cc562a28511ccbe3dcaf3d1a986a52c 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 Patent 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 Monopoly Board Creator An entity primarily responsible for making the resource Darrow, Charles Publisher An entity responsible for making the resource available U.S. Patent and Trademark Office Date A point or period of time associated with an event in the lifecycle of the resource 1935-02-06 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://en.wikipedia.org/wiki/Monopoly_(game)#/media/File:DarrowPage1.png" target="_blank" rel="noopener">Courtesy John D. Buell / Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource png, 164 KB Description An account of the resource The most popular board game of the 1930s began as an inspiration of writer, actor, political activist and anti-monopolist <a href="https://en.wikipedia.org/wiki/Lizzie_Magie" target="_blank" rel="noopener">Lizzie Magie</a>, who created the Landlord Game in 1903 as an educational tool. Players traveled around a square board, hoping to avoid the charges of predatory railroads. Property was there to demonstrate the social utility of property taxes. Two different modes of play were possible: one version, called Prosperity rewarded all players; the other version, Monopoloy rewarded just one. By the 1930s, Magie's game was joined by copied versions. Salesman Charles Darrow encountered the game in 1932, and with a few minor additions submitted the copyright shown above using the work of a hired graphic artist. Darrow's game was so successful that the larger Parker Brothers bought his rights, and went on to widespread success.  Monopoloy arrived at a time when economic precarity, and vastly diminished family budgets, coincided with fantasies of wealth. The game has proved very resilient, appearing in hundreds of editions and languages. Type The nature or genre of the resource Still image Capitalism Elizabeth Magie Games Great Depression Monopoly (board game) https://openvalley.org/files/original/58e6956a20434b81ee805911dddf9f7b.jpg d307b0fda38d26606f01ec04b1340a47 https://openvalley.org/files/original/e26817e5cf15e6d14d61c47d89471ac9.jpg 72bb55e60a734c6ebc6f85348c36ee1c 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 Woodcut on paper Physical Dimensions The actual physical size of the original image Iage: 4 x 5 in. Sheet: 8 3/4 x 11 1/2 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 Monsters Creator An entity primarily responsible for making the resource Becker, Frederick G. 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 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1117 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 635 KB Type The nature or genre of the resource Still image Description An account of the resource In Monsters, white contour lines curve around humanoid figures. One figure is leaf shaped, stretching from the print’s top left corner to the bottom right. This leaf resembles a human face, with eyes, eyebrows, and even forehead lines at the top, a nose in the middle, and beneath it a mustache and mouth. The mouth looks like a leaf as well, its veins resembling cracked lips. Next to the figure is a drum set, where a tree branch extends up towards its ear. The natural element of this print continues with the second figure, who has a tree trunk for a neck, twisted branches stretching upwards. One of the branches has a snake head attached to it, and its forked tongue reaches out to the bass being strummed by the same figure’s large hand. This tree-person also wears a suit and tie like a proper jazz musician. They’re supported by two spindly hands for feet. 32 images at <a href="https://art.gsa.gov/people/926/frederick-g-becker/objects" target="_blank" rel="noopener">GSA</a>. Contributor An entity responsible for making contributions to the resource Derrell, Emma (description) Helquist, Morgan (photography) Federal Art Project Frederick G. Becker lithograph Music New Deal Museum https://openvalley.org/files/original/e6ca071a842658d440d1ff471fda7163.JPG a88e86a875c200612ee23066625d09da 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 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 Montauk, Long Island Creator An entity primarily responsible for making the resource Tryon, Dwight William, 1849-1925 Date A point or period of time associated with an event in the lifecycle of the resource 1874 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:Montauk,_Long_Island,_New_York,_by_Dwight_William_Tryon,_1874,_oil_on_canvas_-_New_Britain_Museum_of_American_Art_-_DSC09250.JPG" target="_blank" rel="noopener">Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 3 MB Description An account of the resource Painted in a luminist style, vividly breaking waves contrast with shadows on dunes; a play of light and shadows upon gently billowing clouds parallels this juxtaposition overhead. In a feature typical of marine art from this time, the tiny sails of ships--whether illuminated or shadowed by clouds--are used as a reference to indicate distance and point toward the infinite sea. At the time of this painting Tryon was 25 years old and recently had decided to become a professional artist. He went on to a long career, albeit one quite different in pictorial style after studying in Europe. Dwight William Tryon Long Island Montauk, NY painting Watersheds https://openvalley.org/files/original/03ad35247377eb3728da017454ffe820.jpg bd68c186c4e306240b6455e728b2b864 https://openvalley.org/files/original/64cef81d5672ab865c397e3b655e2fb0.jpg 99269dc08895279c157604677f2af5d7 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 Map Physical Dimensions The actual physical size of the original image 39 x 61 cm 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 Moose and Black Rivers Description An account of the resource This map's full title--"Lakes and reservoirs, head waters, Moose and Black Rivers: showing present and proposed feeders to Black River Canal"--reveals the underlying interests that probably generated its creation. Even in 1862, canals still were considered important drivers of economic development and here topographic features share space with their usefulness as canal feeders. Creator An entity primarily responsible for making the resource Jenne, Daniel C., 1814-1886 (Creator) Cooper, John A. (John Alder), b. 1830 (Draftsman) Taylor, William B., 1824-1895 (Creator) Sweet, S. H. (Sylvanus Howe), 1830-1899 (Creator) Publisher An entity responsible for making the resource available Comstock & Cassidy Date A point or period of time associated with an event in the lifecycle of the resource 1862 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Lionel Pincus and Princess Firyal Map Division, The New York Public Library. <a href="http://digitalcollections.nypl.org/items/76ecbaa0-a831-0133-4194-00505686a51c" target="_blank" rel="noopener">"Lakes and reservoirs, head waters, Moose and Black Rivers"</a> The New York Public Library Digital Collections. 1862. Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 4.3 MB Black River Black River Canal Boonville, NY Map Watersheds https://openvalley.org/files/original/c77117a9b69f9acef83317a0ce395adf.jpg 77b4d1f21005d20e79941443a96e6011 https://openvalley.org/files/original/b4b93b960446e6e6c1467823420b1f55.jpg 74198af444af84c6b9ac580a9ff995ca https://openvalley.org/files/original/e534517c185c378628fffca9368f46ed.jpg da0a3304b98f200a5b1f09709afebfc0 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 Moosehead Description An account of the resource A handcarved moosehead that is stained and varnished. This piece of art represents a lot of things for the Algonquin tribe. Moose were hunted and used for food, hide, and fur but the artwork is to honor the animals life and the exchange that nature makes for human life. Woodworking is also passed down through family lines. Three photos show a sculpture whose location now is unknown, save for <a href="https://openvalley.org/items/show/1992" target="_blank" rel="noopener">a small piece of wood on one of the antlers</a>. Creator An entity primarily responsible for making the resource Wawatie, Jacob (1956-2016) Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1990-1991 Contributor An entity responsible for making contributions to the resource Dignan, Cecilia Format The file format, physical medium, or dimensions of the resource jpeg, 642 KB jpeg, 635 KB jpeg, 601 KB Type The nature or genre of the resource Still Image Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Algonquin art BOCES Exhibition Geneseo Migrant Center woodwork https://openvalley.org/files/original/c76ac5aba5478c74fb3b440c8789099f.jpg 07e8ecb7f254c3aae68fa2c50a493dcd 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 3 x 5 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 Mother and Child, Steuben Co Description An account of the resource Photographed in black and white, a mother and daughter stand together. The photograph was taken in Steuben Co, however, no other information regarding the mother or daughter is revealed. There seems to be paint on the mother's face for a festival or event, with the joy on the daughter's face resembling childhood innocence. Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Kershner, Natalie Format The file format, physical medium, or dimensions of the resource jpg, 797 KB Type The nature or genre of the resource Still Image Child Daughter Geneseo Geneseo Migrant Center Migrant Children migrant family Migrant Farmers migrant workers Migrants Mother Mother and Child Mother and Daughter Motherhood mothers Steuben County https://openvalley.org/files/original/425404792d8ad78b04efeed82d0b58f9.jpg 91497f26d2b2d7cadc56cb659ce43438 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 Mother and daughter in a field Description An account of the resource Undated photo shows a young woman holding a child in her arms as both look into the distance; their easy familiarity suggests a maternal relationship. In the background are rows of either greenhouses or poultry houses. Creator An entity primarily responsible for making the resource Unknown Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://knightscholar.geneseo.edu/migrant_center/20/" target="_blank" rel="noopener">College Archives, Milne Library, State University of New York at Geneseo</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Type The nature or genre of the resource Still image Geneseo Migrant Center Migrant Labor Migrant Mother https://openvalley.org/files/original/0bd711e25a1d3eacbe44052b64018a14.jpg 71703a457046a971eadd48b71307446f https://openvalley.org/files/original/9c1dcc4d96cdf875ff81c9b27fe9752a.jpg 5a51bd1173a13bc7a2e10430ffe1cb53 https://openvalley.org/files/original/907ce4d0511c7b995b65f3184c4068df.JPG 413c0ab98a47879600c8128f5a2c9927 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: scratched, left hand lower corner 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 Mountain Lake Creator An entity primarily responsible for making the resource Fidaroff, Simon Ivan, 1892-1972 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 1937-10-20 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 #FA18156 Format The file format, physical medium, or dimensions of the resource jpeg, 821 KB jpeg, 4 MB jpeg, 15.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 066 Description An account of the resource Presumably at the edge of a small mountain lake, we look across its surface to the middle and far distance. Although using atmospheric perspective to some extent, the hills and sky also register as a single plane differentiated by line and color. The uncanny effects of space are most clearly observed in the lake's reflections, especially the two similar trees at center: just their tips are tall enough to be seen over a hill's curvature, causing their reflection in the lake to appear as two isolated blocks of color. About the Artist: We haven’t located much reliable information about this artist. Born in Vladikavkaz, Russia, Fidaroff emigrated to Vancouver in 1913 and then the US in 1915—where he became a citizen in 1939. He was an art student in Los Angeles, CA as of 1917. His painting “In the Country” was exhibited at a 1937 Federal Art Project show. 2 works at <a href="http://bennington.pastperfectonline.com/byperson?keyword=Fidaroff%2C+Simon">Bennington Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-13">FAP</a>. Federal Art Project New Deal Gallery painting Simon Ivan Fidaroff https://openvalley.org/files/original/07da104bed1027ebaa6c690d6499f665.JPG f1b7eeba0b8426112bc008c68091d0c4 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 16 x 20 in. Condition: slightly pitted 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 Mountain Torrent Description An account of the resource A cascade of water runs diagonally in Widlizka’s composition, separating two areas of trees standing on what appears to be rocky foundation. Much of the water is obscured by the trees, several of which are very dark green with some lighter shades behind them. It is hard to see what lies in the background, rendering the source of this torrent more obscure and mysterious. About the Artist: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener">FAP</a>. Source Consulted: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>. Creator An entity primarily responsible for making the resource Widlizka, Leopold Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bang, Jay (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18368 Type The nature or genre of the resource Still Image 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 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Identifier An unambiguous reference to the resource within a given context 196 Federal Art Project Leopold Widlizka New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/331c996665e58ebb157c0f6ff31cd15e.jpg 76f2b36160e98d8c9e94cda477277efb 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 Photo 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 Mouth of Red Creek, Genesee Valley Park, Rochester NY Description An account of the resource Postcard photograph depicts bucolic scene at the former South Park along Genesee River, with swans, bridge, and decorative lighthouse. In earlier times Red Creek had been the end of a portage around the Genesee River falls and upstream rapids. Publisher An entity responsible for making the resource available Walker's Post Card Shop Date A point or period of time associated with an event in the lifecycle of the resource 1917? Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 131 KB Type The nature or genre of the resource Photo postcard Genesee River Genesee Valley Park Red Creek trail