76 10 1399 https://openvalley.org/files/original/59aed509e70844cd4407ae081c5bcf51.jpg 9f143cc27fbc997b7801567297db4b31 https://openvalley.org/files/original/4341edab5affe7a3ecc284330fdae991.JPG c0e329d65b69f5ce9be538f4ebdaf994 https://openvalley.org/files/original/2a2e67b4e7db2dddf499f6363aceb242.jpg 9fcb50602716155b866ba9cb1be15fb6 https://openvalley.org/files/original/867b50c6220e5d237d95ba25172c316a.jpg a0db7188f78bf1848b40f1e5fe549b70 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 slightly dented 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 Deserted Wharf Description An account of the resource Cool blues and greens dominate much of Sharp’s landscape, creating a sharp contrast against the red of the barn and sails. A body of water surrounding the wharf clearly is too small for any boats and seems to be drying up. The rolling hills and mountains in the background make the area feel vast and somewhat empty. There are no people within the painting, although there are a few structures that could be houses—one of which has a gravestone—and what appears to be a church spire. Strangest of all is a fenced-in pasture with dinosaurs. About the Artist: Born in Galesburg, IL, Sharp grew up in Eldon, IA and showed a talent for art at an early age, matriculating at the University of Iowa in 1928. While a student he met curator Edward Rowan and painter <a href="https://en.wikipedia.org/wiki/Grant_Wood" target="_blank" rel="noopener">Grant Wood</a>, both of whom would become important figures in the regional art movement, co-founding the <a href="https://en.wikipedia.org/wiki/Stone_City_Art_Colony" target="_blank" rel="noopener">Stone City Art Colony</a>. At age nineteen, taking Wood on a driving tour of Eldon, Sharp showed him the house that would figure in the iconic painting <a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a>. Sharp studied at the Stone City colony for a short period before relocating to New York, where he attended the Art Students League and the National Academy of Design. It was during this period in the early 1930s that Sharp met his lifelong partner, the painter <a href="http://www.askart.com/artist/Paul_Crosthwaite/121992/Paul_Crosthwaite.aspx" target="_blank" rel="noopener">Paul Crosthwaite</a>. The two relocated to an established art scene in Buck’s County, PA. Besides his work in the WPA easel division, Sharp was chosen to create three murals for post offices in Iowa:  <a href="https://livingnewdeal.org/projects/post-office-mural-bloomfield-ia/" target="_blank" rel="noopener">“Autumn”</a> (1940), in Bloomfield; <a href="https://livingnewdeal.org/projects/post-office-mural-rockwell-city-ia/" target="_blank" rel="noopener">“Summer”</a> (1941), in Rockwell City; <a href="https://livingnewdeal.org/projects/hawarden-post-office-mural-hawarden-ia/" target="_blank" rel="noopener">“Winter”</a> (1942), in Haywarden. While all show the regionalist influence of Wood, Sharp also had a distinctive sense of humor. His painting <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/645/" target="_blank" rel="noopener">“We All Hang Together”</a> mashes up domestic folk art and a Benjamin Franklin epigram; his landscape painting at the NDG features what appears to be a herd of cows but actually is dinosaurs. Still, his taste for surreality did not stand in the way of commercial success. Sharp was called “a skillful factualist who loves the textures of barns, flowers, leaves, shells, and old roots” (Benson). He was commissioned to render portraits of New York theater actors; his paintings were chosen for a traveling Hallmark Art Award exhibition (1951) and appeared on the cover of Colliers magazine (“P.O. Mural”). Sharp and Crosthwaite moved to Florida full-time by the mid-1950s, continuing their work while instructing younger artists. 3 works at <a href="https://www.pafa.org/museum/collection-artist/john-sharp" target="_blank" rel="noopener">Pennsylvania Academy of the Fine Arts</a>. 3 <a href="https://livingnewdeal.org/artists/john-sharp/" target="_blank" rel="noopener">post office murals</a> for the Treasury Section of Fine Arts. 1 work at <a href="https://chrysler.emuseum.com/objects/37648/untitled?ctx=ab112bf1-8a18-4eee-ad47-7ee4aee14dd0&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="https://americanart.si.edu/artist/john-o-robert-sharp-4393" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 2 works at the <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/243/" target="_blank" rel="noopener">Michener Art Museum</a>. 5 images at <a href="https://projects.mtmercy.edu/stonecity/otherartists/sharp.html" target="_blank" rel="noopener">Stone City Art Colony</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-2" target="_blank" rel="noopener">FAP</a>. Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., <a href="“John%20Sharp,”">“John Sharp,”</a> Stone City Art Colony and School, web. Creator An entity primarily responsible for making the resource Sharp, John, 1911-1966 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-03-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Schmeer, Samantha (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 #FA18268 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 16.8 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 175 1930s Federal Art Project Iowa John Sharp landscape New Deal Gallery painting wharf https://openvalley.org/files/original/960704b7ab403af2ec90a9cc259e713e.JPG 084b7072ef027f270fb55816ba37421a 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. Painting condition: surface dirt, canvas dented 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 Vase of Asters Format The file format, physical medium, or dimensions of the resource jpeg, 868 KB Description An account of the resource In a darkened room, light dramatically illuminates an arrangement of flowers and dried oak leaves in a simple white vase. The leaf shapes and Sharp’s brushwork create a flamelike appearance, albeit in a more muted color palette—even the bouquet’s shadow rises sinuously upward. Highlights upon the background imply that everything here is possessed of an aura. About the Artist: Born in Galesburg, IL, Sharp grew up in Eldon, IA and showed a talent for art at an early age, matriculating at the University of Iowa in 1928. While a student he met curator Edward Rowan and painter <a href="https://en.wikipedia.org/wiki/Grant_Wood" target="_blank" rel="noopener">Grant Wood</a>, both of whom would become important figures in the regional art movement, co-founding the <a href="https://en.wikipedia.org/wiki/Stone_City_Art_Colony" target="_blank" rel="noopener">Stone City Art Colony</a>. At age nineteen, taking Wood on a driving tour of Eldon, Sharp showed him the house that would figure in the iconic painting <a href="https://en.wikipedia.org/wiki/American_Gothic" target="_blank" rel="noopener">American Gothic</a>. Sharp studied at the Stone City colony for a short period before relocating to New York, where he attended the Art Students League and the National Academy of Design. It was during this period in the early 1930s that Sharp met his lifelong partner, the painter <a href="http://www.askart.com/artist/Paul_Crosthwaite/121992/Paul_Crosthwaite.aspx" target="_blank" rel="noopener">Paul Crosthwaite</a>. The two relocated to an established art scene in Buck’s County, PA. Besides his work in the WPA easel division, Sharp was chosen to create three murals for post offices in Iowa:  <a href="https://livingnewdeal.org/projects/post-office-mural-bloomfield-ia/" target="_blank" rel="noopener">“Autumn”</a> (1940), in Bloomfield; <a href="https://livingnewdeal.org/projects/post-office-mural-rockwell-city-ia/" target="_blank" rel="noopener">“Summer”</a> (1941), in Rockwell City; <a href="https://livingnewdeal.org/projects/hawarden-post-office-mural-hawarden-ia/" target="_blank" rel="noopener">“Winter”</a> (1942), in Haywarden. While all show the regionalist influence of Wood, Sharp also had a distinctive sense of humor. His painting <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/645/" target="_blank" rel="noopener">“We All Hang Together”</a> mashes up domestic folk art and a Benjamin Franklin epigram; his landscape painting at the NDG features what appears to be a herd of cows but actually is dinosaurs. Still, his taste for surreality did not stand in the way of commercial success. Sharp was called “a skillful factualist who loves the textures of barns, flowers, leaves, shells, and old roots” (Benson). He was commissioned to render portraits of New York theater actors; his paintings were chosen for a traveling Hallmark Art Award exhibition (1951) and appeared on the cover of Colliers magazine (“P.O. Mural”). Sharp and Crosthwaite moved to Florida full-time by the mid-1950s, continuing their work while instructing younger artists. 3 works at <a href="https://www.pafa.org/collection-artists/john-sharp" target="_blank" rel="noopener">Pennsylvania Academy of the Fine Arts</a>. 3 <a href="https://livingnewdeal.org/artists/john-sharp/" target="_blank" rel="noopener">post office murals</a> for the Treasury Section of Fine Arts. 1 work at <a href="https://chrysler.emuseum.com/objects/37648/untitled?ctx=ab112bf1-8a18-4eee-ad47-7ee4aee14dd0&idx=0" target="_blank" rel="noopener">Chrysler Museum of Art</a>. 1 work at <a href="https://americanart.si.edu/artist/john-o-robert-sharp-4393" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 2 works at the <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/243/" target="_blank" rel="noopener">Michener Art Museum</a>. 5 images at <a href="https://projects.mtmercy.edu/stonecity/otherartists/sharp.html" target="_blank" rel="noopener">Stone City Art Colony</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-2" target="_blank" rel="noopener">FAP</a>. Works Consulted: Gertrude Benson, “Dynamic Oils and Sculpture at Academy,” Philadelphia Inquirer 25 Jan. 1953: 17; “P.O. Mural is Hung Tuesday,” Haywarden Independent 28 May 1942: 1; Kristy Raine, et al., <a href="“John%20Sharp,”">“John Sharp,”</a> Stone City Art Colony and School, web. Creator An entity primarily responsible for making the resource Sharp, John, 1911-1966 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937-04-12 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18267 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 174 Federal Art Project John Sharp New Deal Gallery painting still life https://openvalley.org/files/original/65f3ebd26039b507f1cef2f10bed71d5.JPG 54d6154dcc37ea86eff417a9eddef37e 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 Paper Physical Dimensions The actual physical size of the original image 8x12 inches 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 Picture of Peabody accounts Description An account of the resource Accounts of Sheffield Peabody's accounts for workers. Creator An entity primarily responsible for making the resource Sheffield Peabody Date A point or period of time associated with an event in the lifecycle of the resource 1888 Source A related resource from which the described resource is derived Sheffield Winslow Peabody Diaries and Pass Book, 1849-1914. Genesee Valley Historical Collection, Milne Library, SUNY Geneseo. Format The file format, physical medium, or dimensions of the resource jpeg, 80 KB Type The nature or genre of the resource Still image, paper, 8x12 Contributor An entity responsible for making contributions to the resource Guinan, Brodie https://openvalley.org/files/original/6dcbc0ffac11461989b08a805a93d426.jpg 96a7f6f2754ceb1018253274b40d3d59 https://openvalley.org/files/original/84ce6b7b4e9cd743830a877ba17f5244.jpg 96b5f20386776558eb8fb62e16bcf82c 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 Atlas Map Physical Dimensions The actual physical size of the original image 18 x 27 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 Rochester-area highways, 1956 Description An account of the resource Detail from road map shows the emerging U.S. interstate system, including the newly designated New York State Thruway. Creator An entity primarily responsible for making the resource Shell Oil Company Publisher An entity responsible for making the resource available Shell Oil Company Date A point or period of time associated with an event in the lifecycle of the resource 1956 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived David Rumsey Historical Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 342 KB jpeg, 4.8 MB Type The nature or genre of the resource Atlas map Automobiles Highways Map Roads Rochester, NY https://openvalley.org/files/original/dcba44438005988935b7366986056378.jpg 77aa719db43bd8237b917402881b157b https://openvalley.org/files/original/f8aabde3af6dbd26bc903e254f250a99.jpg de1b3e8b8ad66c4520d003bd7cd3e761 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print etching Physical Dimensions The actual physical size of the original image 9 x 11-3/4 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 Boat Musicians Creator An entity primarily responsible for making the resource Sherman, Effim H. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1508 Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1.4 MB Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/people/2354/effim-h-sherman/objects" target="_blank" rel="noopener">GSA</a>. Effirm H. Sherman Federal Art Project lithograph Music New Deal Museum https://openvalley.org/files/original/a01b5fdf048971bb8a18498e900bb98d.jpg 237f85a4642b0714f42557d72e1a10a5 https://openvalley.org/files/original/499154451886df670ac99388b5442a69.jpg e3191fe506c7eef4cd68c92287ea2a76 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Print etching Physical Dimensions The actual physical size of the original image Image: 10x 13 in Framed: 17 x 21 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Sokoloff Conducting Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg 299 KB Creator An entity primarily responsible for making the resource Sherman, Effim H. Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1509 Type The nature or genre of the resource Still image Description An account of the resource 15 images at <a href="https://art.gsa.gov/search/%22effim%20h.%20sherman%22" target="_blank" rel="noopener">GSA</a>.  Effirm H. Sherman Etching Federal Art Project Music New Deal Museum https://openvalley.org/files/original/b4115b3a5bcfa1616ccb03f922ed0be0.JPG daa59c1cc8f2f555536e1b607a7564af https://openvalley.org/files/original/860eaa0fd40aeb67a2ec9ecb5b707e4d.JPG 93d52b0b45eee4ab5d387e53ee404994 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: spotted, written on 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 Jersey Farm Creator An entity primarily responsible for making the resource Shulgold, William 1897-1989 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Jackson, Madison (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 #FA18269 Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg, 993 KB jpeg, 10.7 MB Description An account of the resource New Jersey Farm: A small, somewhat run-down farm is surrounded by trees and encroaching vegetation. There is a smoke stack in the background, indicating industrial transformations to area farmland. The painting’s earthy colors are somewhat tonal and sun-bleached; red and green tones provide the main contrast. Despite its beauty thhere seems to be a feeling of emptiness captured in this piece. About the Artist: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with <a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s Penrod at the Irene Kaufmann Settlement theater; (Pittsburgh Daily Post 22 May 1918: 7; Pittsburgh Press 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in A Double Life—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” Pittsburgh Press 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” Los Angelest Times 18 July 1948: 56. Identifier An unambiguous reference to the resource within a given context 176 Federal Art Project New Deal New Deal Gallery Oil on Canvas painting William Shulgold https://openvalley.org/files/original/74218e1c7b4b9be1f1bf0606ad1329d9.JPG 3f8cc635e69e7f25df1e350fe466d6d0 https://openvalley.org/files/original/6ead1e73ce5f8b933705d487145f75b3.JPG 95cd1a5bd0a343e4913163bdade8c27a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: pin holes, surface dirt, stains 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 Straw Flowers Description An account of the resource A slanted table has a vase filled with dried flowers ranging from colors of orange, yellow, purple and one single white flower. Behind the vase is a heavier fabric draping around all the objects on the table. The objects include a goblet swaddled in the fabric to the left of the vase, a book in front of the vase and a bowl of pears and grapes to the left of the vase. The warm colors and the focus of the flowers in the middle of the painting make the painting feel autumnal. Which leads to the feeling that the flowers symbolize the end of autumn and the beginning of winter as the flowers seem to have been collected and dried and therefore been in the vase for a while. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">About the Artist: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with </a><a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s Penrod at the Irene Kaufmann Settlement theater; (Pittsburgh Daily Post 22 May 1918: 7; Pittsburgh Press 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in A Double Life—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” Pittsburgh Press 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” Los Angelest Times 18 July 1948: 56. Creator An entity primarily responsible for making the resource Shulgold, William, 1897-1989 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) Ramsay, Elizabeth (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 #: FA18270 Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 177 Format The file format, physical medium, or dimensions of the resource jpeg, 969 KB jpeg, 10.6 MB Federal Art Project New Deal Gallery painting still life William Shulgold https://openvalley.org/files/original/72ca3866d7deb8fad751c6dffcfe2215.jpg dfc6ed4b53fe44cff14248e22216cc19 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 Gerrit Hondius, 1956 Creator An entity primarily responsible for making the resource Sidney J. Waintrob (1902-2002) Abraham L. Waintrob (1908-2004) Date A point or period of time associated with an event in the lifecycle of the resource 1956 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Waintrob Project for the Visual Arts <a href="https://www.albrightknox.org/artworks/p19812533-gerrit-hondius">Courtesy of Albright-Knox Art Gallery</a> Format The file format, physical medium, or dimensions of the resource jpeg, 596 KB Description An account of the resource Hondius (1891-1970), a New Deal Gallery artist, was born in Holland and fled Europe in 1915 amidst the Great War. He studied at Royal Academy in The Hague and the Laren Art Colony, then in New York at the Art Students League. He was known for his expressionist landscapes and paintings of circus performers. Type The nature or genre of the resource Still image Gerrit Hondius New Deal Gallery Painter https://openvalley.org/files/original/80fba01718d960b223a9d99ce25b0dfe.jpg a464e110277096b4c9bbe3445e7ba0c2 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 4 x 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 Underground Railroad--Routes of Fugitive Slaves to Canada Description An account of the resource Adaptation of Wilbur Siebert's 1898 map focuses solely on New York state network, perhaps with a misleading sense of precision as to clarity of "routes" Creator An entity primarily responsible for making the resource Siebert, Wilbur Henry (1866-1961) Flick, Alexander C. (1869-1942) Date A point or period of time associated with an event in the lifecycle of the resource 1898 (original) 1933 (New York map) Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Alexander C. Flick, "History of the State of New York," vol. 6, New York State Historical Association, 1933. Format The file format, physical medium, or dimensions of the resource jpge, 1.1 MB Type The nature or genre of the resource Map Flick, Alexander C. Map Railroads Siebert, Wilbur H. Underground Atlas underground railroad