77 10 1402 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 https://openvalley.org/files/original/31f5c071e60f260db22597c2a1023bbe.jpg d794213ac0615eec89f4fa8b7f9823df https://openvalley.org/files/original/24a79c6d2baf83b73c7d219b5f66a057.jpg a3a01b5268880128ee246f1370f2f077 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. 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/. Description An account of the resource “City Landscape” uses a beautiful palette of earth tones set against concrete infrastructure, especially an overpass that curves across the sky. Beneath that new automotive world, a jumbled cluster of buildings appears at left. It's difficult to tell whether the road in the foreground--which takes up a large portion of the painting, almost like a river--is concrete or dirt. Regardless, no automobiles appear in the painting and the sidewalk edges flow organically. Perhaps this absence of movement and human actions is what led Sievan to envision the scene as a landscape. On the right side of the street, we see two people standing who match the painting's color scheme; however, on the opposite side of the street, two people wear white coats--maybe indicating a wealth gap. Faint lines across the center could be a train track, still carrying this variety of people who are traveling separately. Title A name given to the resource City Landscape Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource c. 1935 Contributor An entity responsible for making contributions to the resource Drexler, Nora (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 822 Format The file format, physical medium, or dimensions of the resource jpeg, 2.6 MB jpeg, 1.2 MB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Sievan, Maurice (1898 - 1981) City Federal Art Project Maurice Sievan New Deal Museum painting https://openvalley.org/files/original/f9c63a99104d2a04091cb93a1a05f188.jpg 4adba8095b81790cd75b13272da8d9fd 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 Breakneck Ridge Tunnel Creator An entity primarily responsible for making the resource Skeats, William J. Publisher An entity responsible for making the resource available RailPictures.Net Date A point or period of time associated with an event in the lifecycle of the resource 2019-06-03 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://www.railpictures.net/photo/699417/" target="_blank" rel="noopener">Photo/Archive William J. Skeats. Used by permission.</a> Format The file format, physical medium, or dimensions of the resource jpeg, 640 KB Description An account of the resource Breakneck Ridge is located in the Hudson Highlands, directly across the river from Storm King Mountain. Its distinctive stony face was picturesque, albeit quarried for granite by the 19th century. It posed a major obstacle in plans to build a railroad line along the Hudson River. By 1851, however, a 400-foot tunnel had been bored by the Hudson River Railroad (later to become part of New York Central). Here, in a contemporary photo, we see the line still in use as part of Metro North / Amtrak service. The stone structure at right is part of the Catskill Aqueduct, constructed between 1908 and 1924. Technically, it is called the Moodna / Hudson / Breakneck Pressure Tunnel: a tunnel bored 1,100 feet below the river's surface through which water passes from Ashokan Reservoir to New York City. The building was constructed in 1917 to drain the pressure tunnel. Breakneck Ridge probably is the location of New Deal Gallery artist <a href="https://openvalley.org/items/show/1247" target="_blank" rel="noopener">Isaac Fastovsky's 1937 painting Tunnel by the Hudson.</a> Type The nature or genre of the resource Still image Catskill Aqueduct Hudson River Hudson River Railroad New York Central Railroad Railroads tunnel https://openvalley.org/files/original/8d4579a0f2d6544101b56b1bc748bffe.jpg a84dbfb5d80ca17b6d9770e4d3135661 https://openvalley.org/files/original/069288c8b5ebb1528a831bb155329d40.jpg 02abfa807cba7a8041c6182d852604a0 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 Etching on paper Physical Dimensions The actual physical size of the original image Image: 10 x 8 in.  Frame: 18 x 15 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Hunter Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 961 KB Creator An entity primarily responsible for making the resource Skolfield, Raymond White (1909 - 1996) Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1512 Type The nature or genre of the resource Still image Description An account of the resource 16 images at <a href="https://art.gsa.gov/people/2467/raymond-white-skolfield/objects" target="_blank" rel="noopener">GSA</a>. Etching Federal Art Project Hunter New Deal Museum Raymond White Skolfield https://openvalley.org/files/original/6b7c65be8ab6360ea022c784125e9532.jpg 9ac5cb973b3c39f02c5bff57c1770fa0 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 2,400 × 1,800 pixels 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 Dust Bowl - Dallas, South Dakota 1936 Description An account of the resource "<a href="https://commons.wikimedia.org/wiki/File:Dust_Bowl_-_Dallas,_South_Dakota_1936.jpg">Buried machinery in barn lot in Dallas, South Dakota, United States during the Dust Bowl, an agricultural, ecological, and economic disaster in the Great Plains region of North America in 1936.</a>" -Andrew C. Creator An entity primarily responsible for making the resource Sloan Publisher An entity responsible for making the resource available United States Department of Agriculture Date A point or period of time associated with an event in the lifecycle of the resource May 13, 1936 Format The file format, physical medium, or dimensions of the resource jpg, 495 KB https://openvalley.org/files/original/774c042617613291dd3619555a52a036.jpg c48b4653ba74c4a3579d3eadd873c03d 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 Book illustration Physical Dimensions The actual physical size of the original image 4 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 Millstones Came in Pairs Description An account of the resource This illustration from Eric Sloane's "Vanishing America" shows the sophisticated and aesthetically pleasing designs of hand-crafted millstones Creator An entity primarily responsible for making the resource Sloane, Eric (1905-1985) Publisher An entity responsible for making the resource available W. Funk Date A point or period of time associated with an event in the lifecycle of the resource 1955 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Sloane, Eric. "Our Vanishing Landscape." New York: W. Funk, 1955: ?? Format The file format, physical medium, or dimensions of the resource jpeg, 14.2 MB Type The nature or genre of the resource Book illustration Mill Milling mills https://openvalley.org/files/original/cd26e99e03b402acf674faab4f127684.jpg 16b61eb39d2286fef6efd23040764dc7 https://openvalley.org/files/original/e772e2fae777b883eb51373263afedb4.jpg 8d1b14e83edfb1de8b954f3a57e82191 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 painting Physical Dimensions The actual physical size of the original image Image: 29 1/2 x 23 1/2 in. Framed: 35 1/4 x 29 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Old Glass Factory Description An account of the resource Old Glass Factory depicts a rural landscape featuring a small unconventional factory settled within a deep valley. In the foreground, a dirt path curves from the lower left corner of the piece, drawing the viewer's eye into the midground and focus of the scene. In the midground, two thin, tall trees with autumn leaves stand parallel to each other framing the main building behind them, providing a sense of balance in the painting despite its overall asymmetrical composition. In the background, we see an extension of the hilly landscape that creates an image of isolation as the structures stand alone in the open hills.   Smith uses contrast to distinctly separate the foreground from this landscape backdrop. The hills fading into the skyline with a similar color palette amongst them forces the land closer to us to pop as it’s more saturated.   As far as technique, Smith uses a combination of broad blended brushstrokes in the background to soften forms and reinforce the perspective. On the factory building itself, however, he utilizes thinner, controlled brush strokes to create sharper lines that accentuate the important foreground subjects. He uses color to create a quiet, fresh, calming atmosphere. Warmer tones dominate the piece however the natural aspects of the piece such as the grassy hills and the autumn trees, contrast the manufactured structures that are made up of deeper and more neutral tones.   About the Artist The painter of this work cannot be attributed with confidence, as yet, in part due to three artists with the same name and a lack of clear provenance. One candidate is Edward Gregory Smith (1880-1961), a Connecticut landscape painting and longtime president of the Lyme Art Association. Consultation with that organization noted that he signed his work as "Gregory Smith" and, as a lifelong Republican, probably would have been hostile to participation in Roosevelt's Federal Art Project.  Another candidate is Edward Herndon Smith (1891-1979), a painter from Mobile, AL who was employed in the FAP as an artist (1935) and then superviser (1936-1940). He continued to paint and create murals after WWII. Research into this possiblility is ongoing. Finally, Edward Leslie Smith (1891-1960) was a commercial artist in Oakland, CA but had no documented connection to the FAP. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.5 MB Creator An entity primarily responsible for making the resource Smith, Edward Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Killelea, Keira (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 820 Type The nature or genre of the resource Still image Edward Smith Federal Art Project New Deal Museum painting rural https://openvalley.org/files/original/5425d6202fd7e9ce84857a7795cb5a59.jpg 22b3e5e8d93ac1650fa90cba246ffc5e 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 3.75 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 Samuel Warren (1797-1862) Description An account of the resource Portrait of Samuel Warren (1797-1862), pioneer grape grower and winemaker of York, Livingston County, New York. Publisher An entity responsible for making the resource available D. Mason & Co. (Syracuse, N.Y.) Date A point or period of time associated with an event in the lifecycle of the resource 1881 Contributor An entity responsible for making contributions to the resource Viglucci, Matthew Source A related resource from which the described resource is derived Smith, James H. History of Livingston County, New York; with illustrations and biographical sketches of some of its prominent men and pioneers. Syracuse, N.Y.: D. Mason & Co., 1881. Format The file format, physical medium, or dimensions of the resource jpeg, 454 KB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Smith, James H. Finger Lakes sacramental wine Underground Atlas