78 10 1402 https://openvalley.org/files/original/09833648902c16480e65ba8eb3c828bd.jpg b5951e02c32e153fb028a061f5050534 https://openvalley.org/files/original/8ae406e5505a05672aa208f64a9954bb.jpg ab28bd94b116605dcc4a19075ae7c92c 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 Painting Physical Dimensions The actual physical size of the original image 11.75 x 17.5 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 Cohoes Falls on Mohawk River, New York Creator An entity primarily responsible for making the resource Smith, John Rubens (1775-1849) Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Maria DeWitt Jesup Fund, 1974, <a href="https://www.metmuseum.org/art/collection/search/12614">Metropolitan Museum of Art</a> Via <a href="https://creativecommons.org/publicdomain/zero/1.0/">Wikimedia Commons</a> Format The file format, physical medium, or dimensions of the resource jpeg, 951 KB jpeg, 515 KB Description An account of the resource Watercolor and graphite composition captures the 1,000-ft. wide falls two miles upstream from where Mohawk joins the Hudson River. The name may derive from the Mohawk phrase "a canoe falling"--a wry bit of humor. According to an 1813 description, the "river is seen gliding over a granitic rock, smoothed by its own operations, and bordered with rocky banks, supporting a sterile soil and a stinted growth of pine, hemlock, cedar and other evergreens, till it arrive at the fall, down which it pours at high water, in one sheet of near 70 feet: but at low water, descends, in excavated courses, some in cataracts, and some in oblique or zig-zag precipices, affording a most sublime and picturesque combination of bold force and violence" (Horatio Gates Spafford, <a href="https://archive.org/details/gazetteerofstate01spaf/page/170">A Gazetteer of the State of New-York</a>, p. 170). In 1831, the river was dammed for manufacturing purposes and its flow has been regulated since the 1930s, when it was converted for electricity generation. Type The nature or genre of the resource Still image electricity Hudson River Milling Mohawk River Waterfalls Watershed https://openvalley.org/files/original/8858118c4f40096d4e9cbd31e2df3e4b.jpg 94006bb9d96ee618b21661c33c1d9eb1 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 9 1/2 x 13 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 Migrant Farmer, Gus Picking Potatoes Wyoming Co. Description An account of the resource The photo was matted to a 16×20 black board of Gus (the farmer picking potatoes) in Genesee County while living in East Bethany. This is common labor a migrant worker may expect in Western NY. Publisher An entity responsible for making the resource available Geneseo Migrant Center Contributor An entity responsible for making contributions to the resource Fensterstock, Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB Type The nature or genre of the resource Still image Creator An entity primarily responsible for making the resource Smith, Robert Date A point or period of time associated with an event in the lifecycle of the resource Unknown Farm labor Geneseo Migrant Center Haitian Migrants Migrant Farmers Potato Farm https://openvalley.org/files/original/6aafaa32728c4742b54d2b1c0aa85b4e.jpg 47d299fa1c07ea2d1e3100e2cb1e5781 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 Perry Knitting Co. Description An account of the resource This collection gathers documents for a Perry Knitting Co. exhibit on OpenValley. They are drawn from from three main sources. First, the Clark Rice Photography Collection at the Perry, NY Public Library. Rice was a prolific photographer in Western New York throughout the mid-20th century. This collection includes scans of his work, and copies of images from the turn of the century photographer Merrium Crocker, whose studio Rice purchased. Secondly, the Henry Page Local History Files. Page was president of First National Bank of Perry, and a local historian associated with the public library for nearly five decades. His uncle, William, had helped secure funding from the Carnegie Corporation for its establishment in 1900 and construction in 1914. The Page collection contains various historical materials and photographs accumulated by him over the years. Thirdly, we draw upon various public domain texts, such as maps from the Library of Congress or <a href="http://perrypubliclibrary.advantage-preservation.com/" target="_blank" rel="noopener">digitized articles from local newspapers</a>. All images here are selections from these collections, chosen for their relevance to OpenValley project. We gratefully acknowledge the generosity of the Perry Public Library and its Director, Jessica Pacciotti. Contributor An entity responsible for making contributions to the resource Meghan Cobo, Ken Cooper, Michaelena Ferraro, Melisha Gatlin, Andrew Gleason, Macaire Lisicki, Ben Michalak, Ethan Pelletier, Emma Raupp, Mariah Rockwell. Special thanks to Jessica Pacciotti at the Perry Public Library. 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 graph 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 US Print Cloth Production by Region, 1889-1939 Description An account of the resource This simplified chart from US Census data shows how dramatically the location of cotton manufacturing in the US shifted from New England to the Southern states. There were several causes, including proximity to cotton fields, newer machinery, and lower wages for workers. The Perry Knitting Company was a relative anomaly during this period, hanging on while most northern textile production relocated or went out of business. But even during the firm's heyday it's clear that economic trends were running another direction. Creator An entity primarily responsible for making the resource Smith, Thomas Russell Cooper, Ken Date A point or period of time associated with an event in the lifecycle of the resource 1944 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thomas Russell Smith, <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015003640789&view=1up&seq=100">The Cotton Textile Industry of Fall River, Massachusetts: A Study of Industrial Localization</a> (1944) p. 84 Format The file format, physical medium, or dimensions of the resource jpeg, 108 KB Cotton Mill Perry Knitting Co. Textiles https://openvalley.org/files/original/47bb8e8349d62e3a1333c9ef067a32db.jpg 087315f4d6c1e8ad4639aa900a35191a https://openvalley.org/files/original/e8b55ce6605ce4c52e2e8409a110b97b.jpg e5a790852dc792db61742406cc822027 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 Steroview Physical Dimensions The actual physical size of the original image 3.5 x 7 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 Otsego Hall, Cooperstown, NY Creator An entity primarily responsible for making the resource Smith, Washington G., 1828-1893 Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived New York Public Library, Robert N. Dennis collection of stereoscopic views Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 772 KB Description An account of the resource William Cooper founded the village of Cooperstown in 1786, and in 1799 built a large mansion inherited by his son, the novelist James Fenimore Cooper. It was located near the outlet of Otsego Lake, the beginning of the Susquehanna River. A fictionalized version of Otsego Hall appears as "The Mansion House" in his 1823 novel The Pioneers. The bricks-and-mortar version fell into disrepair during Cooper's years of travel in America and Europe; in 1834 he renovated it according to the new Gothic Revival style, pictured here in an undated stereocard. Cooper died in 1851, the mansion was sold and converted into a hotel, then burned down in 1853. Its brick and timbers had an afterlife, however, when his daughter Susan Fenimore Cooper--an important nature writer--salvaged them to build what she called the "Riverside Cottage." The original Cooper estate now is home to the Baseball Hall of fame and its grounds. Type The nature or genre of the resource Still image James Fenimore Cooper Otsego Lake Stereoview Susan Fenimore Cooper Susquehanna River Watersheds https://openvalley.org/files/original/41d5def6af65689e92daa05310d0b5c8.JPG ea9bc45ed9669660e8a685db861cbdb9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt, 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 Tulips Description An account of the resource Two curtains in warm yellow and pink frame the painting from the right, with the rest of the background in a mesh of cool blues and greens in a quasi-watercolor style. The brushstrokes are evident and very thick in some parts of the background. The middle ground houses an emerald vase with seven pink tulips, six yellow tulips, and two red tulips all in full bloom. The area of the clearest focus is in the foreground, centered on the pink paint jar, with paint splotches around it, but an obvious absence of a paint brush. Even in the darkest shadows of the painting, there is no black paint used, and other colors mixed together to create darker hues. This demonstrates formal art training, because the usage of black paint, when mixed with white paint, grays out a painting. By not using black paint, the vibrant hues stand out more. About the Artist: Little is known about George Spector. He was a Russian immigrant to the United States and lived in the New York City area. Between 1913 and 1914 he got a diploma from the Cooper Union Night School of Art and received recognition for the category “Drawing from Life.” Given Spector's grasp of detail and three dimensional modeling, it seems possible that he had formal art training prior to the Cooper Union. He exhibited at the Salons of America in 1926 and 1927. 2 works at the <a href="https://www.nga.gov/collection/artist-info.8083.html?artobj_artistId=8083&sortOrder=CHRONOLOGICAL&pageNumber=1&lastFacet=sortOrder" target="_blank" rel="noopener">Index of American Design</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-35" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Spector, George 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 Ritz, Abigail (photography) VanOstrand, Ravenna (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 #FA18272 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 179 Federal Art Project George Spector New Deal Gallery painting https://openvalley.org/files/original/097be0b3931c34d2fe186b031ac45cec.JPG d0e7d73cb6fc329b4966bd7ea76c71f8 https://openvalley.org/files/original/5f739c6466d75ca45dc06c8eb04ffac5.jpg a064fe78ce52ce404073cd3a8917c0bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 X 20 in. Condition: flaking 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 Peonies Description An account of the resource The focus of the still life painting is a vase of multicolored peonies. Spector shows skillful creation of the 3D geometric forms of the flower petals and vase, with a light source coming from the bottom right. The background is unusual in its abstraction, it suggests the idea of a corner of a room. It uses the same color palette as the flowers, with thin paint and visible brush strokes. About the Artist: About the Artist: Little is known about George Spector. He was a Russian immigrant to the United States and lived in the New York City area. Between 1913 and 1914 he got a diploma from the Cooper Union Night School of Art and received recognition for the category “Drawing from Life.” Given Spector's grasp of detail and three dimensional modeling, it seems possible that he had formal art training prior to the Cooper Union. He exhibited at the Salons of America in 1926 and 1927. 2 works at the <a href="https://www.nga.gov/collection/artist-info.8083.html?artobj_artistId=8083&sortOrder=CHRONOLOGICAL&pageNumber=1&lastFacet=sortOrder" target="_blank" rel="noopener">Index of American Design</a>. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-35" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Spector, George 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 Ritz, Abigail (photography) McCrohan, Niamh (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 #FA18271 Format The file format, physical medium, or dimensions of the resource jpeg, 934 KB jpeg, 4.4 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 178 Federal Art Project George Spector New Deal Gallery painting still life https://openvalley.org/files/original/ce3f159b180319e78b9549bd4a115a80.JPG a22fcbdd2514481c9b6cb45c252a9c24 https://openvalley.org/files/original/06ef8967425b13f9e69bdaf6450bbfc4.JPG 24c397abaed2020f2fb7de6e40e50dd4 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 Watercolor painting Physical Dimensions The actual physical size of the original image 15 x 21.75 in. Condition: paper buckling, 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 Easter Lilies Description An account of the resource We behold five white Easter lilies in a glass jug on a red tablecloth. The background is beige, but Spinchorn has dabbed in hints of red, purple, and orange. The lilies and their jug fully fill out the canvas, leaving little negative space. The background beige ends where the lilies begin; whites and highlights remain untouched to leave the white canvas shining through the watercolor. About the Artist: Born in Broby, Sweden, Sprinchorn traveled to the US in 1903 at age sixteen to study with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art, continuing his study through 1907. An early exhibition at the Union League in 1908 made a deep impression upon one critic, who called “Winter Day” and its ferryboat on the East River an image “we shall never forget—the dreariest, wettest canvas we ever saw, and therein is its power...It is realism pushed to the eleventh degree” (“Around”). After a period managing the Henri Art School, Sprinchorn taught at the Art Students League in Los Angeles and then traveled to Paris before returning to the New York art scene. His work appeared in the famous <a href="https://openlibrary.org/books/OL22877785M/Catalogue_of_international_exhibition_of_modern_art" target="_blank" rel="noopener">Armory Show of 1913</a>, at the 1914 World’s Fair, and numerous group and solo shows. “But in 1919,” Sprinchorn later wrote, “chance brought me to the Maine woods,” and it is for his paintings of rural life there that he is perhaps best known, first during the 1920s and then periodically between 1937 and 1952. Against this desire to grow as an artist were what Sprinchorn termed “almost continuous economic sieges,” and Sprinchorn’s abilities as an administrator—which resulted in his working as director of the New Gallery for a period. His work was respected by contemporaries like Robert Henri, Marsden Hartley, and the avant-garde <a href="http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/stetthe1.html" target="_blank" rel="noopener">Stettheimer sisters</a>, and has grown in reputation since then. 11 works at the <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Portland Museum of Art</a>. 4 works at the <a href="https://collection.farnsworthmuseum.org/objects?query=sprinchorn" target="_blank" rel="noopener">Farnsworth Museum of Art</a>. 8 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/1253/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://magart.rochester.edu/4DACTION/HANDLECGI/CTN3?display=POR" target="_blank" rel="noopener">Memorial Art Gallery</a>. 1 work at the <a href="https://americanart.si.edu/artist/carl-sprinchorn-4583" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 16 works at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-38" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Around the Galleries,” New York Sun 14 Jan. 1908: 6; Chris Huntington/Charlotte McGill, <a href="https://www.sprinchorn.com/index.html" target="_blank" rel="noopener">Carl Springchorn Admiration Society</a> Creator An entity primarily responsible for making the resource Sprinchorn, Carl, 1887-1971 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) Vanamee, Nicholas (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 #FA18273 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB jpeg, 6.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 180 Carl Sprinchorn Depression-Era Art Easter Lilies Federal Art Project New Deal Gallery https://openvalley.org/files/original/5fa4f9668a8fe57c5b66b82cf6f35eda.jpg 3ca2c1a245b8846935146cd78232afed https://openvalley.org/files/original/07ffa65c2839b4354161e44ec624c123.jpg c32ffa73ff595e4e4ddc936e25fbc232 https://openvalley.org/files/original/fd66d8b7dda1373bc8a8aaf1d037bd1e.jpg 9bcb3f17a6704bed3e5654119586216b https://openvalley.org/files/original/033a739dfd1598aa72a9774b25a2ef73.jpg 12da82b1633346689671458c4449e7ff 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 Pioneer Settler Upon the Holland Purchase, and His Progress Description An account of the resource Series of four idealized engravings depict homesteader and his wife turning Western New York wilderness into farmland, over a period of 45 years Creator An entity primarily responsible for making the resource Spring: Unknown Summer: Van Duzee, Benjamin C. (1820-1904) Fall: Unknown Winter: Van Duzee, Benjamin C. (1820-1904) Publisher An entity responsible for making the resource available Turner, O [rsamus] Jewett, Thomas & Co. Geo. H. Derby & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1850 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived O. Turner, "Pioneer History of the Holland Purchase of Western New York" (Buffalo: Jewett, Thomas & Co., 1850): 562-567. Digitized by Internet Archive; original from Library of Congress Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB / image Type The nature or genre of the resource Engraving "The Pioneer Settler" farmers Holland Purchase homestead Van Duzee, Benjamin https://openvalley.org/files/original/ef459343545f8528f57c64074b00876d.JPG 368c36020d31be71317b3006b7e7347d 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: slightly pitted, 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 Central Park Creator An entity primarily responsible for making the resource Spurbeck, John S., 1911-1993 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 (photographer) Sheedy, Marianna (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 #FA18274 Format The file format, physical medium, or dimensions of the resource jpeg, 979 KB Type The nature or genre of the resource Still image Description An account of the resource The painting captures NYC’s Central Park on a shadowy afternoon. Cool purples, blues, and greens make up the majority of the image. Trees, bushes, and greenery blend into buildings and cares that make up the city skyline in the background, producing a sense of fluidity. In the foreground, a bridge with coursing river underneath divides the painting. Behind the bridge, the perspective appears to be flattened, almost as if to create dissonance. About the Artist: Born in Duluth, MN, where his father worked as a train dispatcher for the railroad, Spurbeck studied at the Minneapolis School of Art and later at the Art Institute of Chicago. In 1935 he relocated to New York, producing work in oils, water colors, and portrait sketches. It is possible that Spurbeck may have spent some time at the University of Rochester before eventually relocating to Maryland. In 1940 he took a position as director of the illustration division at the Johns Hopkins University, working both an artist and <a href="https://pdfs.semanticscholar.org/5db4/596005924d5b8a51b9b1d90f333926f43c54.pdf" target="_blank" rel="noopener">photographer</a> for the biology department, contributing medical illustrations of equipment and specimens. Spurbeck’s wife, Mary (née Rawles), worked as a staff member for the <a href="https://onlinelibrary.wiley.com/doi/pdf/10.1002/aja.1000970104" target="_blank" rel="noopener">embryology department</a> of the Carnegie Institution of Washington, which was also located on the Johns Hopkins campus. The couple retired together in 1966 to Emporia, VA, Mary’s hometown, where he continued to paint, draw, and sculpt. Identifier An unambiguous reference to the resource within a given context 181 Federal Art Project John Spurbeck New Deal Gallery painting https://openvalley.org/files/original/4220f4075c0d23fc9ee4e2d24362a72a.jpeg 6af96757771dc2d50abf8f947ba13116 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 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 View at Beaver Brook Falls, The Author's Residence Description An account of the resource Located between the towns of Waltham and Belmont, MA the falls were the site of a mill that had burned down and remained a picturesque feature on the estate of landscape architect Robert Morris Copeland. The stream and appear to have been referenced in James Russell Lowell's 1848 poem "Beaver Brook." Creator An entity primarily responsible for making the resource Staigg, Richard M. (1817-1881) Publisher An entity responsible for making the resource available Dinsmoor and Company Date A point or period of time associated with an event in the lifecycle of the resource 1866 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Robert Morris Copeland, "Country Life: A Handbook of Agriculture, Horticulture, & Landscape Gardening." 5th ed., revised. Boston: Dinsmoor, 1866. Beaver Brook, MA Copeland, Robert Morris Lowell, James Russell mills Staigg, Richard M