78 10 1402 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/c94da8d1dfad8effb6169fc63671ea16.JPG 0e6aee33c0d68f28b96cc6bf68f24a4b 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 30 x 24 in. Condition: 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 Mill, Worthington, Mass. Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource The structures depicted here are in all likelihood those of the <a href="https://i2.wp.com/whs.eastus.cloudapp.azure.com/wordpress/wp-content/uploads/2014/05/South-Worthington-Higgins-Mill-LR.jpg" target="_blank" rel="noopener">Theron Higgins Mill</a> located alongside the Little River in Worthington, MA. They’re rendered in a somewhat telescopic view so as to compress a nearly impossible number of scenic elements: river, dam, bridge, buildings, and several layers of foliage receding into the distance. Thick brushstrokes of vivid fall colors, arranged in bold masses, are typical of Owen’s painting style. About the Artist: Born in North Adams, MA, Owen grew up in a farming family, moving to Boston at age twenty on a scholarship to study at the Eric Pape School of Art. Later, he would study at Art Students League, the Chase School and the National Academy of Design. Like many other aspirational artists of the day, Owen created illustrations for periodicals—Cosmopolitan, Scribner’s, Harper’s, Life—and for literary works, including the well-known author Hamlin Garland’s short story <a href="https://en.wikisource.org/wiki/The_River%27s_Warning" target="_blank" rel="noopener">“The River’s Warning”</a> (1902), Helen Fuller Orton’s <a href="https://archive.org/details/bobbyofcloverfie00orto/page/n7?q=%22r.+emmett+owen%22" target="_blank" rel="noopener">Bobby of Cobblefield Farm</a> (1922), and Percy K. Fitzhugh’s <a href="https://archive.org/details/tomslademotorcyc00fitz/page/n8?q=%22r.+emmett+owen%22" target="_blank" rel="noopener">“Tom Slade”</a> series of Boy Scout books. A turning point arrived in 1910, when Owen visited Connecticut and devoted himself to painting this region, regardless of the season; farmers called him “the feller who don’t mind the weather” (“Owen’s Pictures”).  In 1920 Owen returned to New York with the novel idea of opening a gallery devoted to selling his own work, the Robert Emmett Owen New England Landscape Gallery. It would remain open at different locations until World War II, after which he was artist in residence at the <a href="https://openvalley.org/items/show/1056" target="_blank" rel="noopener">Thomas Paine Cottage Museum</a>. 5 works viewable at a 1935 Rains Gallery <a href="https://archive.org/details/unset00rain_16/page/52" target="_blank" rel="noopener">auction catalog</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/robert-emmett-owen-papers-10754" target="_blank" rel="noopener">Archives of American Art</a>. Source Consulted: “Owen’s Pictures on Exhibition,” Orlando Sentinel 1 June 1925: 5. Creator An entity primarily responsible for making the resource Owen, R[obert] Emmett, 1873-1957 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 1937-08-24 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 #FA18227 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 134 Federal Art Project Mill New Deal Gallery painting R. Emmett Owen https://openvalley.org/files/original/e213cbd46aeb0ad1236c89485d3bc6ab.jpg 7e9d559d601ded6f6b838346b2b1d577 https://openvalley.org/files/original/7ef8deb7925b3b868e8fec234bb34756.JPG 8d708637b95626ab7eb195968216c249 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: chipped paint, scratched, pencil marks, 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 North Church Description An account of the resource The Old North Church towers over a dismal, darkened street. A break of sunlight gradually illuminates the peaks of the buildings, sidewalk near the church, and the almost nonvisible side of the church’s steeple. There is a hazy quality to the painting; it blurs the figures moving down the road, who appear to be shadowy splotches blending in with the sidewalks and cold, bland buildings. Each structure is simple; the only discernible details are the spires, lantern, and belfry of the steeple. 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 1938 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Michalak, Benjamin (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 #FA18136 Format The file format, physical medium, or dimensions of the resource jpeg, 791 KB jpeg, 9.7 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 046 Federal Art Project New Deal Gallery Oil Painting Thomas Cole https://openvalley.org/files/original/9a0a4290d4c95ffb8c130cc233d7a4ca.jpg 3ef4e6f559c1db812e61ac723d67c6c6 https://openvalley.org/files/original/35a972bf20af6fff4715c68b5d188279.jpg 703485651b3ec708031495ef16cd84d5 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 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 Shed Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 1.2 MB Description An account of the resource At first glance, everything about Weissbuch's etching indicates rural squalor and decline. Fallen tree limbs and roughly cut stumps are scattered across the composition; even standing trees seem to be in a state of decay. The shed itself has been constructed of bricks and roughly cut limbs for its roof joists. Only a man tucked into the frame at far right shows that the structure still is in active use. For all of that, however, it still looks sturdy and tucked into the side of this hill. Weissbuch uses darker, denser lines to portray the foreground, which is set against a conventionally picturesque valley in the background, delineated with a few lighter strokes to indicate a fence and farm- or pastureland. One implication is that a close-up visit to any location in this rural area will provide a similarly unrefined view: the reality of rural America exceeds pastoral fantasies or squalid ruins. About the Artist The son of Romanian immigrants, Weissbuch grew up in Brooklyn and already was working at a hat factory by the age of fifteen. Weissbuch studied at the Yale University School of Fine Arts, the Beaux-Arts Institute of Design, and the Art Students League (where he likely encountered the influential abstractionist Hans Hoffman). Beginning in 1934, Weissbuch worked on various WPA programs for seven years (Public Works of Art Project, Temporary Emergency Relief Administration, Federal Art Project), altogether producing 23 recorded prints. His works were widely exhibited in New York (including MoMA, the Brooklyn Museum, and Albright-Knox Museum), along with traveling shows to California, England, and Scandinavia. Weissbuch also became an important mentor within the Graphic Arts Division. For a short time he was appointed its supervisor, and along with his predecessors was “liked and respected by the artists. They showed sympathy and understanding and stood up for the artists under the pressures of the Project administration, which in turn was under political pressure” (Kainen 170). One such pressure by the late 1930s was a call for graphic works supporting European Allies and military preparation, rather than landscapes or social criticism. Late in 1941, Weissbuch began teaching at the newly established <a href="https://en.wikipedia.org/wiki/Munson-Williams-Proctor_Arts_Institute" target="_blank" rel="noopener">Utica Art School</a>, created by the Munson – Williams – Proctor Arts Institute. Its egalitarian mission announced that faculty, “when executing their own professional work, will welcome students and the general public who may thus observe their methods in practice” (Art Digest 1 Dec. 1941: 29). Alongside American art generally, Weissbuch’s work during the 1940s moved in a direction of increasing abstraction—for example, <a href="https://munson.emuseum.com/objects/1932/backyard-in-summer?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=3" target="_blank" rel="noopener">“Backyard in Summer”</a> (1942) and <a href="https://munson.emuseum.com/objects/10524/rooftops-no-1?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=1" target="_blank" rel="noopener">“Rooftops, No. 1”</a> (1943)—and then fully embraced it by the end of his life in works like <a href="https://munson.emuseum.com/objects/1057/sea-motif?ctx=4715703bae747f0b36f946b02d2517711b4029c3&idx=2" target="_blank" rel="noopener">“Sea Motif”</a> (1948). Given Weissbuch’s fascination with motific patterns and textures seen in FAP prints of the 1930s, though, perhaps abstraction makes sense as a latent potential within his earlier work. He was a brief, but meaningful influence upon the Pop artist Robert Indiana, who took classes at the Utica Art School while stationed near there in the amy (Ryan 271). But it seems there had been many other apprentices taught by Weissbuch along the way. 18 works at the <a href="https://www.philamuseum.org/collection?artist=Oscar%20Weissbuch" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 2 works at the <a href="https://www.nga.gov/artists/34125-oscar-weissbuch" target="_blank" rel="noopener">National Gallery of Art</a>. 2 works at the <a href="https://americanart.si.edu/artist/oscar-weissbuch-5309" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 works at <a href="https://munson.emuseum.com/search/Weissbuch" target="_blank" rel="noopener">Munson Museum</a>. 1 work at the <a href="https://digital.wolfsonian.org/node/67534?search_api_fulltext=weissbuch" target="_blank" rel="noopener">Wolfsonian-FIU</a>. 4 versions of “Gypsy Fortune Teller,” illustrating stages of the woodcut printing process, at <a href="https://dac-collection.wesleyan.edu/artist-maker/info/38000" target="_blank" rel="noopener">Wesleyan University Davison Art Collection</a>. 5 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-54" target="_blank" rel="noopener">FAP</a>. 16 images at <a href="https://art.gsa.gov/search/weissbuch" target="_blank" rel="noopener">GSA</a>. Works Consulted: Olga M. Viso, “The Golden Age of American Printmaking, 1900-1950”  (1994), courtesy TFAO <a href="https://www.tfaoi.org/aa/9aa/9aa175.htm" target="_blank" rel="noopener">Link</a>; Edward Lewis, “3 Shows Open at Print Club,” Philadelphia Inquirer 27 Mar. 1938: 16; Jacob Kainen, “The Graphic Arts Division of the WPA Federal Arts Project,” in The New Deal Art Projects: An Anthology of Memoirs, ed. Francis V. O’Connor (1972) <a href="https://archive.org/details/newdealartprojec0000unse_m0q7/page/154/mode/1up" target="_blank" rel="noopener">Link</a>; Susan Elizabeth Ryan, Robert Indiana: Figures of Speech (2000); Peter Hastings Falk, ed., Who Was Who in American Art (1999) <a href="https://archive.org/details/whowaswhoinameri0003unse/page/3507/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Weissbuch, Oscar (1904-1948) 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 1935-1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken (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 27776 Etching Federal Art Project New Deal Museum Oscar Weissbuch rural Squalor https://openvalley.org/files/original/7b70a2abc9ab379a6afa1a3fe329c1e1.jpg 2c30d2e1a10b872be4fb2f20d87e5aba https://openvalley.org/files/original/b791951ae15ec42a2266724c3e3c4eb1.jpg 3ea87241d5f038f18f65dfebae937719 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Old Water Wheel, Lakeville NY Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 878 KB jpeg, 522 KB Publisher An entity responsible for making the resource available F. M. Acker, Lakeville NY Date A point or period of time associated with an event in the lifecycle of the resource 1913-07-30? Type The nature or genre of the resource Postcard Description An account of the resource Postcard shows view of a decrepit water wheel, almost certainly located at the outlet of Conesus Lake where it becomes Conesus Creek. If so, then the photograph shows remnants of what had been a broom-handle factory operated by L.P. West, then upgraded by Henry Spencer during the 1880s to include manufacture of pumps, ladders, and farm gates. Spencer also added steam power so as to continue operations during times of low water flow. But by 1895 or 1896 the business had faded away but not, as the photo suggests, interest in its picturesque water wheel. Conesus Creek Conesus Lake Genesee River Lakeville, NY Mill Watershed https://openvalley.org/files/original/10c75b399c06d300e92236e38eefeec8.jpg 718d694c9da9fafed1b2cc43f248e9ae https://openvalley.org/files/original/0a5cae29363da0977d29cf2b921748e8.png 1cf721a1a86d304dbf796fd232b86512 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Printed engraving 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's Corn Planter Description An account of the resource Prior to the 1800s, corn was planted by hand in hillocks or rows. Industrial technologies profoundly affected agriculture with many patent machines like this horse-drawn planter designed by Calvin Olds. In a language typical for other devices of the time, the inventor promises to have "made it my untiring object by day and by night, by actual experiment and deep study, to bring it to its greatest perfection." This item contains two images, the second of which has been edited with clearer letters so as to better see the original schematic drawing that accompanied this description: "The above cut is a representation of my double corn planter, which plants two rows at once, and makes the rows both ways, to be drawn by a horse. Similar letters reter to similar parts—a represents the forward wheels, b the blank places on the hind wheels to show where the bills are, c the plough, d the coverer running with an angle of 45 degrees, replacing the carth thrown out by the plough, e the mitre gear of the dropping wheels, g the cups, with moveable bottoms to increase or diminish the quantity of seed at pleasure, h the boxes containing the seed, i the tube to convey the seed to the plough, k the slide or gate to regulate the depth of seed under the dropping wheel." Creator An entity primarily responsible for making the resource Packard, Cavit & Co. Publisher An entity responsible for making the resource available The Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1841 Contributor An entity responsible for making contributions to the resource Williams, Audrey Source A related resource from which the described resource is derived The Geneseee Farmer 12.2 (Feb. 1841): 184 <a href="https://archive.org/details/sim_genesee-farmer_1841-12_2_11/page/183/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 111 KB png, 687 KB Type The nature or genre of the resource Still image agricultural machinery Agriculture industrialization Machinery https://openvalley.org/files/original/e9d7c295c3700fe343fab3c3962498b4.jpg 32d6f919d1b1832c5af00d1ec3849a8e https://openvalley.org/files/original/5b914ce10d03bc487df8173d98e1c27c.jpg 1984219ecf56093eb875973ca5fbcab6 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 Mills of Genesee Valley Description An account of the resource Before the commercial extraction of fossil fuels from the Oil Creek region of northern Pennsylvania, most mechanical work in the Genesee Valley was done by human and animal power, or some source ultimately derived from the sun: burning wood, wind power, or flowing water. The exception to this, of course, was coal--by the 1880s America's dominant source of energy. Due to the Genesee region's ample supply of wood and running water, along with the cost of shipping coal, it's quite common to find instances of various water mills in the area's history. They were adapted to a wide range of uses: cutting wood into timber and milling it into specialized shapes (lumber mill); grinding corn into animal feed or for distilling alcohol (grist mill); grinding wheat or other grains (flour mill); creating boxes and other products from wood pulp (paper mill); fabricating metals (triphammer mill); powering industrial equipment (textile mill); and by the 1880s creating electricity via turbines. This collection gathers various documents concerning mills in the Genesee Valley. In addition to images and written texts, there is also an interactive map illustrating the density of their usage during the mid-nineteenth century. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oldest Bridge on the Genesee River, Geneseo NY Publisher An entity responsible for making the resource available John Balding & Son, Geneseo NY Date A point or period of time associated with an event in the lifecycle of the resource 1909-08-30 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 833 KB jpeg, 520 KB Type The nature or genre of the resource Postcard Description An account of the resource At the time of this photograph wooden structure was at least 70 years old, having been constructed in 1830 by a Mt. Morris contractor named Russell Daboll. Its design was somewhat unusual in that wood was used even for the abutments upon which the span rested. At left side of photo is Gilmore's mill, operated first by Thomas and then his son Freeman. In 1913 the bridge was damaged by farm equipment and replaced by a metal one. Genesee River Geneseo, NY Mill Post Card Watershed https://openvalley.org/files/original/f02ea2145b80f205ef57c199aec2679e.jpg 7caa3e3836e7ae44be8944ae29c1bfb2 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 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 Olean Retaining Wall During Hurricane Agnes Description An account of the resource Beginning June 22, 1972 slow-moving Hurricane Agnes made landfall in New York state and by the next day had deluged Southern Tier communities with heavy rains. Major rivers like the Allegheny, Genesee, and Susquehanna were many feet above flood stage--in some cases rising by seven inches per hour--and several towns declared evacuations. The damage was considerable: bridges, railway lines, businesses, homes, and farms were flooded. Following in a long American tradition, a rapidly published book of photos and descriptions was created to commemorate the event. In this photograph, taken alongside Olean Creek, the caption reads: "Water nearing the top of Front St. retaining wall in Olean." Publisher An entity responsible for making the resource available W.H. Greenhow Co. Date A point or period of time associated with an event in the lifecycle of the resource 1972 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Flood: The Southern Tier's June 1972 Disaster: A Pictorial Review (Hornell, NY: 1972) Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 927 KB Type The nature or genre of the resource Photograph Allegheny River flood of 1972 Hurricane Agnes Olean Creek Olean, NY Watershed https://openvalley.org/files/original/e9977b7252cdf060a410833bbbda80a4.docx ec9f19940f2bdb94e2ca391ba4221a24 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Setting eye, bright with knowledge of the hills, swells yellow, orange, pink as it speaks scripture on red seasoned leaves that rattle and lean in to take in its tales. Stories written in braille bumps, veins mapping routes of ventures for the lost; a blind wanderer. I seek solitude in autumn leaves and listen to their legends; for each leaf falls to feel their roots once more, too. 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 Omniscience Description An account of the resource At Geneseo, I’m enraptured not only by the programs and curriculum offered, but by the colors of the hills and sunsets. I feel that by indulging in nature, one can learn a lot just from the quiet around them. This poem captures the space in which education and nature cross paths. Creator An entity primarily responsible for making the resource Keane, Jordan Date A point or period of time associated with an event in the lifecycle of the resource 2015-10 Format The file format, physical medium, or dimensions of the resource doc, 27.5 KB Type The nature or genre of the resource Poem Geneseo Underground Atlas https://openvalley.org/files/original/c32cd715aa8a08ed7e782e6a4faca8a9.JPG 5fa509a15ac689b64afbcb03e9524219 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: flaking paint, 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 On the Rocks Format The file format, physical medium, or dimensions of the resource jpeg, 867 KB Description An account of the resource This dramatic view of a coastal shoreline and shipwreck is lit with the light pinks and blues of twilight. At left, a rocky coast and cliffs in the background; in the foreground, breaking waves and foamy aquamarines. The abandoned ship itself tilts upon rocks and amidst ocean swells testifying to the area’s danger. A few tattered remnants of sails leave us wondering what happened, and how long ago. About the Artist: We haven’t located much reliable information about this artist. Born in Warsaw, Poland, Morosoff immigrated to the US in 1904 and became a citizen in 1936 under the name William Morton. He moved to Los Angeles, CA in the late 1930s. His NDG painting shows an interest in maritime art with an historical bent, which included other paintings such as “U.S.S. Constitution” and “Caravels of Columbus.” His FAP painting “Battle Fleet Maneuvers” was allocated to the Fourth Battalion US Reserves on Long Island. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-31" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Morosoff, Vadim Vladimirovich, b. 1874 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 #FA18210 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 117 Federal Art Project New Deal Gallery painting Vadim Morosoff