80 10 1402 https://openvalley.org/files/original/be99a77226f3b5f125b88c544c151dc7.JPG 26c735c56fc6234f5b61b6bb7e016ce5 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 Condition: surface dirt, some spots, slightly buckled 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 Orioles Format The file format, physical medium, or dimensions of the resource jpeg, 885 KB Description An account of the resource This group of individuals from the blackbird family each perches on a distinct branch, looking in a different direction, and in physical space likely at some distance from the others. Yet Patterson telescopes his composition so as to render them tightly clustered together. The birds are framed by the branches and flowers of what is apparently a cherry tree, blossoming in early spring to perhaps welcome them back. About the Artist: Born in Monmouth, IL, Patterson’s practice of art required entrepreneurship throughout his life. The son of a printer, he financed his study at Monmouth College by working summers on the railroad in nearby Des Moines, the in 1913 he teaching art lessons (Des Moines Register 15 July 1913: 9). He went on to receive further training at the Cummings School of Art (University of Iowa), the Philadelphia School of Design, and a masters in fine arts at Harvard University. At the same time, however, he continued to teach at far-flung locations: the Cummings School (Iowa), Northern State Teachers College (South Dakota), Tulane University, and at the Universities of Illinois, Iowa, and Wisconsin (Des Moines Register 13 Sept. 1925: 10). His professional life, in other words, was contingent; alongside notices of his teaching posts are mentions of threatened cuts to art programs. His NDG paintings most likely date to a period when he lived in New York for about a decade, perhaps teaching at Columbia University. For most of his life Patterson’s horizon remained regional; he often won prizes at the Iowa Art Salon—where he exhibited for 25 consecutive years—and the Des Moines Womens Club exhibitions. Creator An entity primarily responsible for making the resource Patterson, Claude A[llan], 1887-1973 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18233 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 140 Claude A. Patterson Federal Art Project New Deal Gallery painting Watercolor https://openvalley.org/files/original/2bcc85d016aee78250f25f00df505d18.jpg ce442938fe7935f387f58d8e7e2c9b4b 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 photo 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 Ossian State Forest Description An account of the resource Sharing a border with the Rattlesnake Hill Wildlife Management Area, this 1,300-acre tract similarly was created during the 1930s. Under the State Reforestation Act, nine different owners were bought out between 1930 and 1946, creating a mixed-use area combining timber cutting and recreation. The photograph here was taken near Ossian Pond. Creator An entity primarily responsible for making the resource Arhur, Andy Date A point or period of time associated with an event in the lifecycle of the resource 2013-10-15 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://andyarthur.org/explore/ossian-state-forest" target="_blank" rel="noopener">Courtesy of AndyArthur.org</a> Format The file format, physical medium, or dimensions of the resource jpeg, 685 KB Type The nature or genre of the resource Still image New York Department of Environmental Conservation Ossian State Forest State Reforestation Act 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/abc26ee2715109a5decc8183a125690d.jpg b2854efbae77f74722549c3dc4dac541 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. 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 Outside of Perry Knitting Co., Collarette machine Description An account of the resource Uppermost image shows the outside of the Perry Knitting Co., and groups of workers: men walk together, women walk in a procession carrying umbrellas. In the corner of the picture, there is part of a horse drawn carriage or buggy of sorts. Electrical wires/poles are also visible. Image on the bottom half of the page shows an early collarette machine, which was used for cutting fabrics. Publisher An entity responsible for making the resource available Perry, NY Public Library Date A point or period of time associated with an event in the lifecycle of the resource 1915 Contributor An entity responsible for making contributions to the resource Raupp, Emma Source A related resource from which the described resource is derived Clark Rice Photography Collection Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB Identifier An unambiguous reference to the resource within a given context 5281 Type The nature or genre of the resource Still image Clark Rice Photography Collection https://openvalley.org/files/original/e74cdeaad9af0a119a654791d9be462d.jpg 09805da33857ed6730b63c8b01c65248 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 Newspaper advertisement 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 Outterson & Lee, Meat Market Description An account of the resource Number 33 on the Burleigh map, by the time of panorama's publication Outterson & Lee's firm had been dissolved, settling all debts in April 1892. In 1878 George Outterson opened "a saloon and restaurant under Grant's meat market"; it's unclear whether he eventually took over that firm, or was starting up a new one with Lee. Outterson was one of many whose livelihood had been impacted by the 1891 Caledonia fire, so that Burleigh's map was at least partly aspirational, not purely descriptive. After dissolving his old partnership, in April 1892 Outterson applied to the Board of Excise for a saloon permit (the application was denied), then in 1893 he purchased the Caledonia House--also called the old "Stone Hotel"--from Robert Woollett, the hotel's proprietor at the time of Burleigh's map. Outterson died three years later, in 1896. Publisher An entity responsible for making the resource available Caledonia Advertiser 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 Format The file format, physical medium, or dimensions of the resource jpeg, 394 KB Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History Burleigh Litho Co Caledonia House hotel Caledonia, NY George Outterson meat market Saloon https://openvalley.org/files/original/06dd5bfa3fa47f6df8977e322947f5eb.jpg 8d7f4100596795ce6601920e4e526462 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 Engraving Physical Dimensions The actual physical size of the original image 15 x 7.5 in. Condition: surface dirt on glass 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 Oyster House (The Dock) Description An account of the resource We see a dock or port building with two ships moored. Jones uses ink sparingly, but cross-hatches aggressively to convey the dark paint of the dock and shadows on the water. For lighter objects, he implies more than illustrates shape through his clear mastery of weight and shadow—the water, the sky, and the grass are left as negative space—upon blank white paper, with only a few lines scattered to imply shape and texture. The mountains at the edge of the canvas, too, lose definition and shape, vanishing into loose lines towards the left, but remain stark as they fade out of view within frame. The dock building itself commands attention at the center of the canvas, it’s entrance face rounding out the right side of the composition, its dark shading balancing out the stark white of the smaller ship and the water. The contrast of the water, mountains, and dock is surprisingly uniform across the canvas, as Jones masterfully balances positive and negative space—he leaves enough blank to not let ink dominate the canvas. A note about the painting: for at least twenty-five years this etching has been listed as missing; it was re-located in April 2019. It probably depicts the <a href="https://portjeff.com/wp-content/gallery/business-historical-photos/2011-8-94.jpg" target="_blank" rel="noopener">Suwasset Oyster Company</a> in Port Jefferson, NY, which was destroyed by winter storms in 1934. About the Artist: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener">Monkey Shines</a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. He lived for many years in Port Jefferson, NY. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 work at the <a href="https://www.mfa.org/collections/search?search_api_views_fulltext=leon+foster+jones&title=&culture=&artist=&creditline=&accession=&provenance=&medium=" target="_blank" rel="noopener">Museum of Fine Arts, Boston</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Jones, Leon Foster, 1871-1940 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photogrphy) 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 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 Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Engraving Federal Art Project Green New Deal Leon Foster Jones New Deal Gallery https://openvalley.org/files/original/a886e0c593a6e61cd11b89aa133a2b7d.jpg 7fcd3ba648a9ccb1f117fd69b7e93f5f 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 Photograph Physical Dimensions The actual physical size of the original image 8 x 10 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 P.K. Bowling Team Description An account of the resource According to the Rice Collection annotation, "The Mill sponsored a bowling team and these six individuals went to the 28th Annual New York State Championship Tournament, held in Niagara Falls in 1961." Pictured from left to right are: Melanie "Mel" Lynch, Eileen MacQuarrie, Betty Dunning, Marjorie "Marge" Ostrum, Inez Brant, and Ruth "Ruthie" Palmer. All were regular participants in the Women's PK Bowling League, which pitted teams from Unit I, Unit II, the Cutter, and the Office in weekly games. Judging from their consistently high scores, this represents a sort of "Dream Team" from the PK. Publisher An entity responsible for making the resource available Perry, NY Public Library Date A point or period of time associated with an event in the lifecycle of the resource 1961 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Clark Rice Photography Collection Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB Identifier An unambiguous reference to the resource within a given context 6715 Type The nature or genre of the resource Still image Bowling Clark Rice Photography Collection Perry Knitting Co. Perry, NY https://openvalley.org/files/original/b0713e5356627cd5efdb2ef012ef64eb.jpg 57c8eb443744fbc45923ca2ffac92a7e 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 8 x 10 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 Painter Charles Polowetski Description An account of the resource Promotional photo shows Federal Art Project painter in his studio putting the final touches on his portrait of Floyd Bennett, created for a new airfield near Brooklyn named after the aviation pioneer. A World War I pilot, Bennett was best known for his 1926 flight to the north pole with Adm. Richard E. Byrd. According to a press release, the painting's background "depicts the icebergs and water in King's Bay near Spitzbergen in the Arctic region, and shows the airplane in which Byrd and Bennett flew over the Pole." Polowenski (1884-1955) was a Polish immigrant who studied painting in New York and then in Paris. Although an accomplished landscape painter--his 1936 "Spring in Central Park" is at the New Deal Gallery--he was most in demand for his portraiture. Publisher An entity responsible for making the resource available National Air and Space Museum, Smithsonian Institution, Photograph No. 86-32, 785 Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Reprinted in Judith Quinn, <a href="https://archive.org/details/historicstructur00quin/page/266" target="_blank" rel="noopener">Historic Structure Report: The Administration Building (The Ryan Center), Gateway National Recreation Area, Floyd Bennett Field Unit</a> (US Dept. of the Interior, 2000): 266. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 435 KB Type The nature or genre of the resource Still image Charles Polowetski Federal Art Project Floyd Bennett New Deal Gallery https://openvalley.org/files/original/265bb308735f8b7a3c8cfcfc76f67f9e.jpg f92936d3c5957786b3702ea4b60ebfd1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Photograph Physical Dimensions The actual physical size of the original image 2 x 3 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 Painter Claude A. Patterson Description An account of the resource Artist best known for his landscape paintings is shown here at about age 28, in a yearbook photo from Monmouth College, IL. At the time Patterson was an "instructor of water color and drawing." He went on to teach at many other colleges to help finance his artistic pursuits. During the 1930s Patterson was employed by the Federal Art Project, and five of his works are at the New Deal Gallery, Mt. Morris. Publisher An entity responsible for making the resource available Monmouth College Date A point or period of time associated with an event in the lifecycle of the resource 1915 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ravelings: Year Book of Monmouth College 22 (1915): 7. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 284 KB Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Painter https://openvalley.org/files/original/7a814aab8fe67342695571f64cc798b5.jpg e89ee0f111db05caf0628a1253ef45d9 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 of an acrylic (?) painting 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 Pale Rider Painting Description An account of the resource Photograph of an unidentified painting, probably by Juan Cavazos. A self-taught painter, Cavazos traveled from Mexico for employment as a migrant farmworker in Western New York. With support from the Geneseo Migrant Center and the <a href="https://www.locuststreetart.org/about" target="_blank" rel="noopener">MollyOlga Art Center</a> of Buffalo, Cavazos began showing his art in several shows beginning in the late 1980s. The painting here apparently shows a dairy farm, with a farmworker at lower right feeding cattle. Its appearance however is very surreal, even apocalyptic. Darkness frames the scene, including a defoliated tree at left and shadows at top, A blonde woman sits side-saddle upon a white horse, paralleling another that runs through the grazing cattle. Likewise, a wooden fence corralling the cattle is echoed by a wooden beams enclosing the farmworker. One of the most unsettling features is a composition that initially seems to have us looking up at a patch of blue sky, but probably is looking down upon a pond surrounded by mud and cattails. Creator An entity primarily responsible for making the resource Cavazos, Juan Publisher An entity responsible for making the resource available Geneseo Migrant Center Date A point or period of time associated with an event in the lifecycle of the resource 1985-1990 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Creative Artists Migrant Program Services collection, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB Type The nature or genre of the resource Still image Allegory Farm labor Geneseo Migrant Center Juan Cavazos painting