77 10 1402 https://openvalley.org/files/original/fc6a7ab32c079db2577806f11d7d501c.jpg d792133fc8fe1a58539489ab029f07e7 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 340 × 482 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 O-Neh-Da cellars Description An account of the resource An inspection of the O-Neh-Da cellars. Although Bishop McQuaid had much help from the seminarians of St. Michael's Seminary just a short walk up the road, McQuaid was closely involved with the production process to ensure that the wine met the strict standards of Catholic Canon Law. Publisher An entity responsible for making the resource available O-Neh-Da Vineyards Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource O-Neh-Da Vineyards Source A related resource from which the described resource is derived onehda.com Format The file format, physical medium, or dimensions of the resource jpeg, 138 KB Type The nature or genre of the resource photograph Finger Lakes sacramental wine Underground Atlas https://openvalley.org/files/original/7455611007d821da2fe0b5232bed7242.JPG aa6e1f841516d209f0e7d00abb0f5911 https://openvalley.org/files/original/b4b235a487dc15ac1ccb23a6aa3a2cd4.jpg 34d8a2f8f477fdb9f485438f37b88b61 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 Oak and Hickory Forest Description An account of the resource A photograph of an oak and hickory forest patch at the Rush Oaks Opening site in Rush, NY. The site is a NYS DEC unique area, that is actively managed through periodic prescribed burns. Creator An entity primarily responsible for making the resource Chauvin, Noah Date A point or period of time associated with an event in the lifecycle of the resource 2015-10-09 Contributor An entity responsible for making contributions to the resource Chauvin, Noah Format The file format, physical medium, or dimensions of the resource jpeg, 571 KB jpeg, 9.5 MB Type The nature or genre of the resource Still Image, Digital Photograph conservation forest Oak Opening Rush Oak Opening Rush, NY https://openvalley.org/files/original/161785e693f061bf7f4a6e19ef010c95.JPG 1360cc4a772710cbc221e31c791d31c1 https://openvalley.org/files/original/19080a81e118883f7255e6802ef31d7b.jpg 17e32f5089032fdacb8efc06a77aea15 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 Oak in tallgrass meadow Description An account of the resource A photograph of an oak tree in a tall grass meadow at the Rush Oaks Opening site in Rush, NY. The site is a NYS DEC unique area, that is actively managed through periodic prescribed burns. Creator An entity primarily responsible for making the resource Chauvin, Noah Date A point or period of time associated with an event in the lifecycle of the resource 2015-10-12 Contributor An entity responsible for making contributions to the resource Chauvin, Noah Format The file format, physical medium, or dimensions of the resource jpeg, 479 KB jpeg, 5.7 MB Type The nature or genre of the resource Digital Photograph conservation DEC Oak Oak Opening Rush Oak Opening https://openvalley.org/files/original/eb9837ba632c5b717d44d3d6583eb93c.JPG 59778becf84d2efe4f6913dc640b9243 https://openvalley.org/files/original/36caa2dc0adf5f2393d6381dec7ccc00.JPG 6662075375645973205e10cff7af5d71 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 16 in. Condition: peeled paint, surface dirt 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 October Afternoon Creator An entity primarily responsible for making the resource Abernathy, Inez, 1873-1956 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18094 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 13.1 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 004 Description An account of the resource An inscription on the reverse side of Abernathy's canvas identifies her location as somewhere near Wallkill, NY; more specific landmarks or even skylines cannot be discerned because the space here is so enclosing. Impressionistic splashes of fall color swirl around the sharper forms of tree trunks and branches. Patterns of foliage are reflected in the creek below, with gentle ripples creating a horizontal counterpart. About the Artist: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (The Weekly True Democrat 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (San Francisco Chronicle 26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>. Federal Art Project Inez Abernathy New Deal Gallery painting Wallkill, NY https://openvalley.org/files/original/124e0fbfe2e355f9e6146c0fbac6d5e6.jpg 1a4c80dff23fe8f6c0f1c66b370a4a00 https://openvalley.org/files/original/052daab44b2bf738e0f5befb52c4226a.JPG 00f52d2a51371001c61190833681e465 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: flaked paint, chipped, surface dirt, patched hole 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 October Bouquet Description An account of the resource A side table, situated at the corner of two walls, displays a cobalt-blue vase filled with profuse blooms and fall folliage. Blue, cross-hatched walls and the table’s gray tone harmonize with the bouquet’s primarily pink and rose tones. The painting’s drama comes via light from upper right that is reflected upon the vase, sets apart its floral blooms from the background, and modulates the walls different tones. Compare the aesthetic here to his more experimental <a href="https://openvalley.org/items/show/1155" target="_blank" rel="noopener">“Flower Study.”</a> About the Artist: Very little is known about this artist born in Palermo, Sicily, who immigrated to the US in 1914 and became a citizen in 1936. Among his known works are a 1931 self-portrait, “Lady Justice Among Figures” (1932), “Portrait of Lillian” (1934), and “Pieta” (1949). In 1942 La Spina painted a FAP <a href="https://www.flickr.com/photos/nycdesign/16347786631/in/photostream/" target="_blank" rel="noopener">ceiling mural</a> for the Psychiatric Wing of Bellevue Hospital, NYC. He published a book entitled Clouds and Dust in 1975. Creator An entity primarily responsible for making the resource La Spina, Nunzio E., 1900-1988 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18196 Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 15.3 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 103 Federal Art Project New Deal Gallery Nunzio La Spina painting https://openvalley.org/files/original/9974a6a72de0b81bdaaf9582282f1290.JPG 56fdd18351c0def82077407e2868aa10 https://openvalley.org/files/original/8f1f000c2463aa4be23dcd280aab9565.JPG 659da2b51378fb05e92e3794544aa67b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 19.5 x 23.5 in. Condition: peeling 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 October Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB jpeg, 14.3 MB Description An account of the resource Although it owes something to Cézanne’s post-impressionist fields of color, Rites’ painting often de-emphasizes formal shapes that would hold together such a composition. It takes a second look to discern a house, outbuilding, and dock upon a pond or small lake—the effect is one of vividly hued camouflage. Interestingly, the most distinct lines are those of two trees in the foreground, and next to them a pole with a telephone or electrical power line. About the Artist: We haven’t located much reliable information about this artist. Born and raised in Ithaca, NY, Rites graduated from Cornell University in 1922 and then studied art in Paris. His works were exhibited at the Galerie de la Renaissance in 1932, whose catalog preface mentions the influence of Cezanne upon his painting (Ithaca Journal 19 Dec. 1933: 7). Along with NDG artist David Dorfman, Rites illustrated a 1941 WPA reading book entitled <a href="http://digitalarchives.broward.org/cdm/compoundobject/collection/WPAChildren/id/2449/rec/91" target="_blank" rel="noopener">Tales of Old New York</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-19-folder-18" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Rites, Marion B[ushanse], b. 1900 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18252 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 159 Federal Art Project Marion Rites New Deal Gallery painting https://openvalley.org/files/original/0df5131280d2c0b88b4c4262c327a72a.JPG 2d33b2481b5dc1e75a41339718f2fc93 https://openvalley.org/files/original/34be3f6348036e20b62e26f904a6e2f4.JPG edd8caf0b7a0615679fac732512be287 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: chipped paint, surface dirt 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 October Still Life Format The file format, physical medium, or dimensions of the resource jpeg, 976 KB jpeg, 13.4 MB Description An account of the resource A vividly colored grouping avoids any appearance of symmetry or regularity of shape—even a painted plate isn’t circular. Likewise, mottling seems part of Preachen’s design as if to demonstrate that beauty can be irregular. Reds and oranges dominate in the foreground, including what may be a castor oil plant, whereas a glass, its elevated pedastal, and the backdrop shift toward blues. About the Artist: We haven’t located any reliable information about this artist. Please contact us if you're able to help. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-37" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Preachen, William, 1905-1958? 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 1936-10 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 #FA18245 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 152 Federal Art Project New Deal Gallery painting still life William Preachen https://openvalley.org/files/original/89840d3bb9c8e6095259a251f8ca8da1.jpg d0cc86624d47d61833d747586a61edee 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 engraving Physical Dimensions The actual physical size of the original image 5 x 9 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 Oil Creek drilling operation, ca 1864 Source A related resource from which the described resource is derived F.M.L. Gillelen, "The Oil Regions of Pennsylvania: With Maps and Charts of Oil Creek, Allegheny River, Etc." (Pittsburgh, PA: Hunt, 1864) Library of Congress / Internet Archive Description An account of the resource Hyde & Egbert Farm alongside the creek shows derricks, pipes leading to wooden tubs, and the many barrels required to transport oil downstream to Oil City on the Allegheny River. Farm was the location of the "Jersey," "Maple Shade," and "Coquet" wells. Creator An entity primarily responsible for making the resource Gillelen, F.M.L. Date A point or period of time associated with an event in the lifecycle of the resource 1864 Contributor An entity responsible for making contributions to the resource Cooper, Ken Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB oil Oil Creek, PA Sheffield Peabody https://openvalley.org/files/original/fc337f8a1c4ea9fbed410614c5575964.JPG ce423fd6c0a63ec18444eeda75c5d403 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Woodcut print Physical Dimensions The actual physical size of the original image 10.5 x 8.5 in. Condition: surface dirt 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 Brickyard, Chelsea Format The file format, physical medium, or dimensions of the resource jpeg, 973 KB Description An account of the resource Sometimes called Low Point, Chelsea, NY is located north of the present-day Newburgh-Beacon Bridge. Dean’s etching shows the ruins of what had once been a thriving Hudson River industry, using mud from seasonal deposits. We see grass in the foreground, possibly of some marshy variety, and a profusion of foliage in various textures reclaiming the brickworks buildings. At far right, a human figure serves to render the scale. About the Artist: Born Robert Jerome Dean in Chattanooga, TN, this NDG artist was primarily a cartoonist. Having attempted to join the circus as a contortionist, Dean moved with his family to Buffalo and eventually studied at the Student Art League. His first job was drawing turf cartoons for Horse World—Buffalo, then editorial cartoons for the Buffalo Times. In 1905 Dean joined the Atlanta News (a city where he lived for several years). Dean was a prolific, sometimes imaginative illustrator at Joel Chandler Harris’s <a href="https://babel.hathitrust.org/cgi/pt?id=njp.32101079674709;view=2up;seq=4" target="_blank" rel="noopener">Uncle Remus’s Magazine</a>; while working there he created a hybrid fantasy story-comic strip called The Zotwots that was published between 1908 and 1914. When Harris’s magazine folded the strip ran for a short period in the New York Herald. Like many other cartoons of this period, racial humor and minstrelsy sometimes informed Dean’s series. He then moved to New York City to find work where he could as a writer and illustrator: Collier’s magazine, the New York Journal, Herald, and Telegraph Some of his drawings found their way onto lithographs, wooden jigsaw puzzles, and ceramic plates. He spent his last twenty years living in Dutchess County. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-6-folder-1" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Dean, Bob, 1875-1949 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18141 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 051 Federal Art Project New Deal Gallery Robert "Bob" Dean woodcut https://openvalley.org/files/original/8d50680a7a7f5dc78135b2b959e54ea4.jpg 28433a36a643702e255bd3ded04e5344 https://openvalley.org/files/original/f305739fe8a1c863ac18f88c97875a09.JPG 5e74ec7782cce040f062ee1696bcfb70 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 20.5 x 16 in. Condition: surface dirt, slightly pitted Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Old Fish Wharves, Rockport Description An account of the resource Cole's painting is very still and serene. There is virtually no movement--even the water is calm--and the air appears suffused with a hazy glow. The scene's imbalanced composition leaves a space for an implied sunrise or sunset at right. Cole's simplification into a few chosen objects draws our eyes to the boats in the water, their color contrasting with the surrounding scenery. About the Artist: Born in Staatsburg-on-Hudson, NY, Cole was named after two renowned painters of the Hudson River School: <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">Thomas Cole</a> (1801-1848) and <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">John William Casilear</a> (1811-1893). He attended school at the Riverview Military Academy in Poughkeepsie, NY (1900-04) and Harvard University (1905) before turning his attention to painting studied at the School of the Museum of Fine Arts, Boston (1905-11) and Académie Julian, Paris (1912). In 1909, he published a history in <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924065572145;view=1up;seq=357" target="_blank" rel="noopener">New England Magazine</a> on Old St. Mary’s Church at Newton’s Lower Falls, illustrated by his own paintings. Cole served in the US Navy between 1917 and 1919, and beginning in May 1918 worked under William Andrew Mackay in a special unit for the <a href="http://www.bobolinkbooks.com/Camoupedia/DazzleCamouflage/download/sciencecamouexplained.pdf" target="_blank" rel="noopener">camouflage</a> of ships and submarines at the Bureau of Construction and Repair. During the final eight months of World War I, more than 1,200 US ships were painted with so-called <a href="https://openvalley.org/items/show/924" target="_blank" rel="noopener">“disruptive coloration”</a>. After the war, he showed his talents at a Knoedler Gallery exhibition of Allied Commander portraits, Cole’s praised as “having a personality all their own with the dark rich coloring in the figures and the well-modeled faces contrasted against the dark background” (Brooklyn Daily Eagle 19 Oct. 1919: 77). He went on to exhibit his work widely, including the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. A reviewer of his 1927 exhibition of 33 portraits at Ainslee Gallery wrote: “In all cases the portraits are distinguished by a sincerity and a happy achievement of the most difficult of all painters’ problems, that of satisfying both sitter and himself (Brooklyn Daily Eagle 13 Feb. 1927: 59). Cole became so well-known for his portraits that he was often commissioned to paint public and historical figures like President James K. Polk. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/thomas-casilear-cole-papers-7229" target="_blank" rel="noopener">Archives of American Art</a>. Creator An entity primarily responsible for making the resource Cole, Thomas Casilear, 1888-1976 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) Rose, Skye (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 #FA18135 Format The file format, physical medium, or dimensions of the resource jpeg, 915 KB jpeg, 10 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 045 Federal Art Project New Deal Gallery painting Thomas Casilear Cole