72 10 1399 https://openvalley.org/files/original/b2ba1b663a351af5cb2270c0487ff947.jpg 811b7584ca1ccdc43ea8067d9e2643d5 https://openvalley.org/files/original/f13b115394385ab8db874bd7c1e95c3a.jpg 71a2716fe2dc661b63371deab9d9e150 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 Mt. Hope Reservoir, Rochester NY Description An account of the resource In 1873 work began on a water system for the city of Rochester--an earlier one had failed due to poor construction--that would draw from Hemlock Lake in Livingston County, nearly thirty miles distant. By this point the growing city of some 70,000 still drew its water from wells and cisterns; diseases like cholera and dysentery were common because wells were located near cesspits. When a fire broke out the city depended upon water from the Erie Canal or Genesee River. Hemlock Lake was 385 feet higher than the reservoir and as such gravity fed. It was completed in 1876 and later, in 1919, was expanded to include nearby Canadice Lake. Today, what's now called the Highland Reservoir looks much as it did in this old photograph. Publisher An entity responsible for making the resource available Scrantom Wetmore & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1901-1907 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 602 KB jpeg, 287 KB Type The nature or genre of the resource Postcard Canadice Lake Hemlock Lake Highland Reservoir Mt. Hope Reservoir Post Card Rochester, NY Watershed https://openvalley.org/files/original/c0532a908480bdf9955d6f68fe75dd26.jpg e8994934c30fbb7472a48569187efd77 https://openvalley.org/files/original/793721e06fe6bbdfcecfbfd15bf94488.jpg b637c7bf446325d07a492ccf1bb9c7fb 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 Mt. Morris Dam Description An account of the resource This image from the early 1950s shows the construction of the dam at Mt. Morris. Prior to this time, areas along the Genesee River flooded annually. This mighty structure now helps regulate the river's volume. Publisher An entity responsible for making the resource available Livingston County Historian Date A point or period of time associated with an event in the lifecycle of the resource 1950-1955 Contributor An entity responsible for making contributions to the resource Chauvin, Noah Source A related resource from which the described resource is derived Livingston County Historian online photo gallery Format The file format, physical medium, or dimensions of the resource jpg, 813 KB jpg, 5.3 MB Type The nature or genre of the resource Photograph floods Genesee River Lake Geneseo Mount Morris Dam Mount Morris, NY Underground Atlas https://openvalley.org/files/original/c7fca06aeb4d89b4f7692bbf2e1afa2b.png 35ef39cb071316e42cc6f491e010f8a8 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 Mt. St. Helens Creator An entity primarily responsible for making the resource Molesworth, Mark; Neuper, Josef Publisher An entity responsible for making the resource available public domain Source A related resource from which the described resource is derived www.PBS.org https://openvalley.org/files/original/41cc3ed7ea55b6bb66c4588236908b36.jpeg 73db6dc3ac0b64254965f74c19daffea https://openvalley.org/files/original/ef62d8db9f4aa3f916f7d2f9ab57f009.jpg e54536a895653a89492537e39df775be Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document "Mumford Rural Cemetery Association Endowment Certificate We hereby certify that Donald Fraser and Archibald Gillis By Mrs. N. W. Campbell East of York, in the county of Livingston State of New York, has paid into the Endowment Fund of the Mumford Rural Cemetery Association one hundred and fifty ($150.00) DOLLARS for the purpose of keeping in order Lots No. 1, 2, 3, 13, in Section D, in the Mumford Rural Cemetery, in consideration whereof the interest, which shall be obtained on that sum, shall hereafter, from time to time, as occasion may require, be expended on said Lot by the Superintendent under the direction of the Trustees and for paying taxes on time. WITNESS OUR HANDS AND SEAL, at the Office of the Secretary, at Mumford, N. Y., this 5th day of October 1931. S.W. McDonald Secretary. S. W. McDonald Treasurer. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Certificate 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 Mumford Cemetery Endowment Certificate Description An account of the resource This image is of the certification of Donald Fraser and Archibald Gillis's endowment of $150.00 for lots in Mumford Rural Cemetery. This certificate was signed by S.W. McDonald, secretary and treasurer of the Mumford Rural Cemetery Association, on October 5th, 1931. Creator An entity primarily responsible for making the resource McDonald, S. W. Contributor An entity responsible for making contributions to the resource Carelli, Stephanie Source A related resource from which the described resource is derived Harmon Family Collection, Big Springs Museum, Caledonia, NY Format The file format, physical medium, or dimensions of the resource jpeg, 1.64 MB Archibald Gillis Donald Fraser Mumford Rural Cemetery Mumford Rural Cemetery Association https://openvalley.org/files/original/ba561d5e9df1da06c91689b74e100654.jpg f7cb8dce605c32c4f6b59f31bca080b9 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 Diagram 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 Museum of Fine Arts, Plan of the First Floor Description An account of the resource Floor plan to the influential art museum in Boston, MA shows not simply a series of galleries but an historical sequence that is displayed walking through the rooms. As Logan Ward suggests, visitors following a counter-clockwise route enact the implied transition from "Oriental" cultures (Assyrian, Egyptian, Phoenician) to the ascendency of "Western" Greco-Roman cultures, which prepares the way for an Italian Renaissance. This was part of broader colonial influence of museums gathering or appropriating materials from around the world. Galleries that had been organized by artistic media--by very specialized curators--now were overseen by individuals with expertise organized by geographicl and cultural knowledge. Source Consulted: Logan Ward, “Museum Orientalism: East versus West in US American Museum Administration and Space, 1870-1910, Part Two,” The Coalition of Master’s Scholars on Material Culture, October 7, 2021. Publisher An entity responsible for making the resource available Museum of Fine Arts Date A point or period of time associated with an event in the lifecycle of the resource 1903 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Museum of Fine Arts Bulletin, Vol. 1 (1903): 33 <a href="https://archive.org/details/jstor-4423164/page/n1/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 267 KB Type The nature or genre of the resource Still image Arts Colonialism Gallery Museum Museum of Fine Arts https://openvalley.org/files/original/676222e5f1f5d8c2ee3e22b81d1cf01f.jpg a43ff77888df1a2e46b92b6533949da2 https://openvalley.org/files/original/4ec7341a5c371381f42f05e0da511cdb.jpg 92efb4f94c85870a2c7a1f173b39a01f 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 29.5 x 23.5 in. (canvas) 37.5 x 31.5 (frame) 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 Musical Appeal Description An account of the resource Two blocks of tenement buildings dominate this urban scene, in hues of rusty brick, gray, and white. A slightly convex picture plane tilts down dark gray sidewalks and a street in the foreground to give them even greater prominence. Only a band of light blue sky and white clouds offer respite from an evidently working-class neighborhood. Thick brushstrokes emphasize a patterned geometry of widows, shutters, cornices, and entryways. Three musicians stand at the street intersection (singing, playing a banjo and an accordion) who are matched by three spectators. A woman watches them with mild curiosity from a window above; a passerby on the sidewalk seems to be approaching them. The third figure is a man loading duffel bags onto a horse-drawn cart, with a business ironically named “Prosperity Laundry Co,” perhaps too busy in his toils to heed their appeal. The politically active Trubach seems to be offering a kind of allegory here, especially by way of an alleyway whose exaggerated orthoganals point to a shining white skyscraper in the distance. This path is obstructed by a closed iron gate; in front of it the musicians directly face viewers and make their appeal to us. About the Artist: Born in Ukraine--then part of the Russian empire--Trubach immigrated to the US before WWI, later recalling that his artistic career began at the age of eight, drawing upon the sidewalks of New York City (Clinton). At age 14 he received a scholarship at the National Academy of Design, was awarded an exhibition prize, and at 19 a two-year Mooney Traveling Fellowship to Europe. That experience with avant-garde culture shaped his artistic vision—he aligned himself with the so-called Secessionst Group and later characterized himself as a “non-objective” painter—along with his politics. During the 1930s, Trubach was a member of the radical <a href="https://en.wikipedia.org/wiki/John_Reed_Clubs" target="_blank" rel="noopener">John Reed Club</a>, <a href="https://en.wikipedia.org/wiki/Artists_Union" target="_blank" rel="noopener">Artists Union</a>, and the <a href="https://edan.si.edu/slideshow/viewer/?damspath=/CollectionsOnline/gellhugo/Box_0003/Folder_004" target="_blank" rel="noopener">American Artists Congress</a>. His memories of this period differ sharply from better-known histories of the Federal Art Project, recalling that administrators “tried to keep the paintings from being too wild because they had to allocate them to hospitals and they had to be serene and quiet”; sometimes he would act as “the sort of lawyer for these artists” whose subject matter was rejected (McChesney).  Trubach’s work for the WPA included assistance on murals at the <a href="https://livingnewdeal.org/sites/central-park-arsenal-murals-new-york-ny/" target="_blank" rel="noopener">Central Park Police Station</a>; <a href="https://livingnewdeal.org/sites/teddy-roosevelt-high-school-mural-bronx-ny/" target="_blank" rel="noopener">Theodore Roosevelt High School</a> in the Bronx; and the <a href="https://livingnewdeal.org/sites/rincon-center-murals-san-francisco-ca/" target="_blank" rel="noopener">Rincon Annex</a> post office, San Francisco. His Federal Art Project paintings were exhibited by the Art Institute of Chicago, Carnegie Institute, Corcoran Gallery,  and the Society of Independent Artists. In 1936 he contributed a painting, "Red Builders," to an ill-fated <a href="https://www.aaa.si.edu/collections/birobidjan-exhibition-records-21691/series-1/reel-27-frames-661-679" target="_blank" rel="noopener">"State Museum of Biro-Bidjan"</a> under the auspices of <a href="https://en.wikipedia.org/wiki/Organization_for_Jewish_Colonization_in_Russia" target="_blank" rel="noopener">ICOR</a>. After WWII, Trubach—now reclaiming his name Serge—taught at the New England School of Art in Boston, then in 1952 relocated to Sausalito, CA along with his wife, the painter Leonora Cetone. He continued to show his art locally, advocate for community arts, and ran (unsuccessfully) for city council eleven times. <a href="https://calabigallery.com/artists/serge-trubach/" target="_blank" rel="noopener">2 works</a> at online Calabi Gallery. 13 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-9" target="_blank" rel="noopener">FAP</a>. 2 images at <a href="https://art.gsa.gov/search/%22ernest%20s.%20trubach%22" target="_blank" rel="noopener">GSA</a>. Oral history interviews by <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-serge-trubach-11622" target="_blank" rel="noopener">Mary Fuller McChesney</a> (1964) and <a href="https://californiarevealed.org/do/d31a4412-1584-4130-b187-07309cfac57c" target="_blank" rel="noopener">Clayton Mote</a> (1978). Sources Consulted: Larry Clifton, “Serge Trubach, Artist and Activist,” Sausalito Historical Society 12 Aug. 2020 <a href="https://www.sausalitohistoricalsociety.com/2020-columns/2020/8/12/serge-trubach-artist-and-activist" target="_blank" rel="noopener">Link</a>; Mary Fuller McChesney, “Oral History Interview with Serge Trubach” 5 Dec. 1964, Archives of American Art New Deal and the Arts Project <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-serge-trubach-11622" target="_blank" rel="noopener">Link</a>; Peter Hastings Falk, ed. Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/3339/mode/1up?q=trubach" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Trubach, Ernest (Serge), 1907 [also given as 1909 and 1911] -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 1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description & biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mt. Morris NY Object #FA 773 Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 858 KB Type The nature or genre of the resource Still image Ernest Trubach Federal Art Project Great Depression New Deal Museum https://openvalley.org/files/original/8cc6b076ef7c430c0833476ca47c7738.jpg 85b7231f558e740ec7cbd2efda5bbf36 https://openvalley.org/files/original/cc2bc479489073b5933fbf470bb305aa.pdf 4ecffee1f1f542c772f20170f121685e 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 Printed program Physical Dimensions The actual physical size of the original image 8 pages, 5.5 x 8.5 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 My Journey Through the Fields: The Art of a Migrant Farm Worker Format The file format, physical medium, or dimensions of the resource pdf, 3.3 MB Description An account of the resource At the time of this gallery show, Juan Cavazos was a 26-year-old migrant farm worker. He was born in Monterrey, Nuevo Leon, Mexico and later made money sketching portraits in the taverns of Chihuahua and Ciudad Juarez. A CAMPS teacher named Annie Salerno recognized his talent while he was harvesting potatoes near Castile, NY and became one of several advocates who helped him gain access to painting materials and space. During the period of "My Journey Through the Fields," Cavazos also was showing at the MollyOlga gallery and the Burchfield Art Center--both of them in Buffalo. 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 1989-10-05 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Arts Creative Artists Migrant Program Services Geneseo Migrant Center Juan Cavazos migrant art https://openvalley.org/files/original/d753ae8e1253ce42c29d10bb9c4dba03.jpg d67c347487c21df6fb4a4111942432af 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 Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 National Shield of Guatemala, Centroamérica Description An account of the resource Mandala forthrightly asserts that it was “Made by Timoteo Tzun Poros” during a Creative Artists Migrant Program Services (CAMPS) workshop. Its design is based upon a shield created in 1871 that celebrated the fiftieth anniversary of Guatemalan independence from Spain on 15 September 1821: a resplendent quetzel, crossed guns, and laurel wreaths. Poros adds a small Guatemalan flag to the mandala. Note: image quality is affected by shrink wrap enclosing the art work, due to its creator never returning to retrieve it. Creator An entity primarily responsible for making the resource Poros, Timoteo Tzun 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 2000-2010 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Genesee Valley Council on the Arts 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 art Creative Artists Migrant Program Services Geneseo Migrant Center Guatemala Mandala https://openvalley.org/files/original/ac4394d08929d3f22963e37aa2c44de8.jpg 18ac7ffc9b5710742878858928e0be9d 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 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 Natural Stone Wall Description An account of the resource A natural rock wall in the canyon of the Lower Falls at Letchworth State Park. Creator An entity primarily responsible for making the resource Cooper, Ken Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource VanOstrand, Griffin Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still image Canyon Letchworth State Park Lower Falls Rock Wall https://openvalley.org/files/original/67edbfd67869fef81d60efb140a8db1a.jpg 0c5ae992e33cf6078f6a7b3eb95c77d3 https://openvalley.org/files/original/a33c2a3b160b80b78e4f2e9b12b5b2db.jpg 63210cd51d6cc1b8a2ee02dcc6e00999 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 Drypoint on paper Physical Dimensions The actual physical size of the original image Image: 15 x 11 in. Framed: 25 1/2 x 21 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 Near Kingston Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 692 KB Creator An entity primarily responsible for making the resource Blanch, Arnold (1896 - 1968) 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. 1940 Contributor An entity responsible for making contributions to the resource Rivera, Dominc (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 184 Description An account of the resource A rural landscape near Kingston, NY is structured to guide a viewer's eye from foreground into the middle distance through a gently curving route or boundary line, creating depth by progressively reducing detail as the land recedes. The image relies on value contrast and line to organize space: darker masses (tree trunks, corn shocks, and rooflines) anchor the middle ground, while lighter passages suggest open fields and atmospheric conditions. The drypoint technique contributes an airy, foglike quality to the surroundings. Architectural elements, such as a farmhouse and outbuildings, situate the landscape as inhabited, not strictlly “wild” scenery. The farm does not appear to be deserted, either, still a viable operation set against a smokestack in the distant city. Arnold's mood is quiet and restrained; rather than dramatic action, his print emphasizes place, structure, and everyday continuity, aligning with the era's interest in depicting the American Scene. Arnold Blanch Drypoint Federal Art Project Kingston, NY New Deal Museum