9 10 1402 https://openvalley.org/files/original/081732e7f07bbc14477c1e01b43e2181.jpg 780215dda1a5586b2d483b7ad54aa8d3 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 Telephone Magneto Description An account of the resource T.S. Baldwin's "Practical Telephone Hand Book" was one of many introducing the new technology to Americans Creator An entity primarily responsible for making the resource Baldwin, T. S. (b. 1865) Publisher An entity responsible for making the resource available F. J. Drake & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1902 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived HathiTrust Networks Sheffield Peabody telephone https://openvalley.org/files/original/1ff4efb67bc46a46ab29dd90e77bfc4e.jpg 1aaf40e98a0210f5ba652078b8a5e52a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 19.5 x 15.5 in. Condition: surface dirt, some peeling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pelham Bay Park #1 Description An account of the resource This painting displays a park scene using a variety of pastels, dusty colors, and vivid greens. We see a sandy sky and cool-toned trees in the background; the middle ground hosts a hedgerow outlined on the bottom with a vivid row of red flowers. In the foreground, three trees stand in full bloom, with two to the left side framing the wall on the right. The wall has a pot and a sculpture that frame the third tree. A sidewalk cuts in front of this scene. About the Artist: We haven’t located much reliable information about this artist. Bank created 4 works for the <a href="https://www.nga.gov/collection/artist-info.7227.html" target="_blank" rel="noopener">Index of American Design</a>, one of which reads: “Unfinished on account of ‘Pink Slip’ September 3rd1937.” Creator An entity primarily responsible for making the resource Bank, Moses 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 1937-04-27 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) VanOstrand, Griffin (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 #FA18113 Format The file format, physical medium, or dimensions of the resource jpeg, 798 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 023 Federal Art Project Moses Bank New Deal Gallery Oil on Canvas painting park https://openvalley.org/files/original/e4a3fa92060d1b46c0e75f6c6de492a1.jpeg c7cacb817de69b4b6119d90c0e151865 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 Paper map 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 1872 Oklahoma Survey map Description An account of the resource Showing the township designated 014.0N - 003.0W, this map of "Indian country" prepared the way for white settlement of tribal lands. The 160 acres claimed by Sheffield Peabody is at the upper right of the map. Creator An entity primarily responsible for making the resource Barrett, Theodore H. (Deputy Surveyor) Drummond, Willis (Commissioner) US Department of the Interior, Bureau of Land Management Date A point or period of time associated with an event in the lifecycle of the resource 1872--01-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived DM ID# 22717, U.S. Department of the Interior, Bureau of Land Management Format The file format, physical medium, or dimensions of the resource jpeg, 6.7 MB Oklahoma peabody, family, diaries, text, geneology, Settlement Sheffield Peabody https://openvalley.org/files/original/e2cf4d1ad32ed3ef0eefe44970ecf16f.jpg 1f5e466b92c6bbd221a302ec02352e53 https://openvalley.org/files/original/0c4dabca652be1018211588b40243e85.jpg c7cacb817de69b4b6119d90c0e151865 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 Paper map 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 Detail of 1872 survey showing the location of Sheffield Peabody's homestead near Guthrie, Oklahoma Description An account of the resource One of many other "Eighty-Niners" or "Sooners" who were part of the land rush to formerly Native American territories, Peabody had to live on this location long enough to establish a claim. It was granted on 4 June 1895. Creator An entity primarily responsible for making the resource Barrett, Theodore H. (Deputy Surveyor) Drummond, Willis (Commissioner) US Department of the Interior, Bureau of Land Management Date A point or period of time associated with an event in the lifecycle of the resource 1872--01-03 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived U.S. Department of the Interior, Bureau of Land Management Format The file format, physical medium, or dimensions of the resource jpeg, 17.4 MB homestead Oklahoma Sheffield Peabody https://openvalley.org/files/original/b6700a69843f09a947864c1e2984bc62.jpg 6a7b5d6488a724e96676c750722ab9c3 https://openvalley.org/files/original/981f8750f57e8f237f52f3ad42f0a4e9.jpg cb9d45af577e96c0d2698f5703f3c273 https://openvalley.org/files/original/a89f0da158de30880e3f3adeb24c221d.pdf 27c6f7a2a92c455da98583ce20a98ce2 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. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Pamphlet 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 Farm Kitchen as a Workshop Description An account of the resource Publication in the USDA "Farmers' Bulletin" series focuses upon the 8 million women who "work every day, and most of them many hours a day, in the farm kitchens of the United States." The emphasis is upon careful design and planning of kitchens so as to become "the well-ordered workshops they deserve to be" Creator An entity primarily responsible for making the resource Barrows, Anna Publisher An entity responsible for making the resource available U.S. Department of Agriculture Government Printing Office Date A point or period of time associated with an event in the lifecycle of the resource 1921-01 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived U.S. Department of Agriculture, Farmers' Bulletin No. 607. Washington: GPO, 1921. Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB jpeg, 257 KB pdf, 1.3 MB Type The nature or genre of the resource Text Agriculture farm women farmers home economics kitchen https://openvalley.org/files/original/b149174efb31f0cd1d873afcaf3ee204.jpg b9ec5f006110c123ac488f9d7bc7b712 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on Canvas Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in Condition: surface dirt, dent left corner 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 Summer Landscape Description An account of the resource Baumbach’s work depicts a summer landscape in what appears to be a rural farm town from an aerial view. The colors are bright, and cool tone variations of green dominate much of the space. The greens are contrasted by a blue waterway and a yellow field which stretch across the center of the painting, and by several red building structures that sit at the bottom. Rolling hills stretch back into the horizon. Despite the wide view, there is much attention to detail and the painting also features roads, animals, crops, and fences. About the Artist: Born on New York’s Lower East Side, Baumbach was the son of an upholsterer and largely a self-taught painter. His original emphasis was upon upstate landscapes; later, he moved on to increasing abstraction in his work, influenced perhaps by his friends <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a> and <a href="https://en.wikipedia.org/wiki/Adolph_Gottlieb" target="_blank" rel="noopener">Adolph Gottlieb</a>, but always with his own distinct style. Baumbach was among the founders of the radical journal <a href="https://www.aaa.si.edu/collections/art-front-5779" target="_blank" rel="noopener">Art Front</a> (1934-1937), created as “a publication which speaks for the artist, battles for his economic security and guides him in his artistic efforts” (Art Front 1.1 [Nov. 1934]: 2.) Later, his name would come up amidst investigations into “subversive organizations” by the House Un-American Activities Committee. After World War II Baumbach taught painting at Brooklyn College. Although highly regarded by fellow artists, popular success eluded him: “Strong willed, allergic to fashion, even to success, he persisted in going his own way, refusing to sell to prospective buyers he thought did not admire the work properly and breaking off relations with galleries usually after only a show or two” (<a href="https://www.nytimes.com/2002/01/04/arts/harold-baumbach-98-a-painter-who-explored-color-and-space.html" target="_blank" rel="noopener">New York Times 4 Jan. 2002</a>). He was the father of writer Jonathan Baumbach and grandfather of film director Noah Baumbach. 1 work at the <a href="http://collection.whitney.org/artist/73/HaroldBaumbach" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://hirshhorn.si.edu/search-results/search-result-details/?edan_search_value=hmsg_66.400" target="_blank" rel="noopener">Hirshorn Museum</a>. 2 works at the <a href="https://library.brooklyn.cuny.edu/library/art/index.php?view=single&item_id=68&image_id=56" target="_blank" rel="noopener">Brooklyn College Library</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-18" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Baumbach, Harold, 1903-2002 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Schmeer, Samantha (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 Number: FA18114 Format The file format, physical medium, or dimensions of the resource jpeg, 883 KB 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 Identifier An unambiguous reference to the resource within a given context 024 1930s Farm Federal Art Project Harold Baumbach landscape New Deal Gallery https://openvalley.org/files/original/22605510fd88939d38c588e40f911113.jpg 4ffd3d92708e10f1fbd80e7365380aeb https://openvalley.org/files/original/1d1f9b666b98fccb7411d1265df94dd2.jpg c28a9994a096fdbbdef6b7ad8593d1c2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Drawing Physical Dimensions The actual physical size of the original image 12 x 12 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 Mandala drawing of wolf and moon Creator An entity primarily responsible for making the resource Bautista, Roberto Cruz 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 Unknown 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, 2.4 MB jpeg, 1.8 MB Description An account of the resource Powerful image uses a full moon as circular background for silhouette of a howling wolf atop a rock outcropping. On the reverse side of this page is another image, probably also by Bautista, that is a more stylized line drawing of two figures beholding a swan. Type The nature or genre of the resource Still image Creative Artists Migrant Program Services Folk Art Geneseo Migrant Center Mandala https://openvalley.org/files/original/3ff15f47a0c1ec168992a6078942bfd7.jpg e7b739fbe08928b0b69c508a8d3d3aaa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil on Canvas Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: slightly torn, spotted, 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 Flowers Description An account of the resource Bayard has painted a still life of a blue vase of flowers on the end table. A small wooden box sits next to the vase. The table, box, and wall behind the vase all are a deep reddish brown; this color makes up much of the photo. The flowers in the vase are an assortment of blues, oranges, and whites. There are small peach colored circles on the table, which may be polka dots on the table, or may be fallen petals. There is a light blue along the edge of the right side of the painting, perhaps a window, and what looks to be a frame along the right side. About the Artist: Although we haven’t been able to establish a reliable date or location for Bayard’s birth, an exhibition of her paintings at the MacDowell Club in 1915 for “painters trying their wings in the open” suggests a time somewhere 1899 (Brooklyn Daily Eagle 13 April 1915: 6). She studied with <a href="https://en.wikipedia.org/wiki/George_Luks" target="_blank" rel="noopener">George Luks</a> and <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the Art Students League, the latter painting her portrait in <a href="https://www.wikiart.org/en/robert-henri/the-green-coat-1919" target="_blank" rel="noopener">“Green Coat”</a> (1919). Likewise, she was the subject of George Bellows’ “Lucie” (1915) and remained good friends with the family. Her work appeared at the Society of Independent Artists (1917), the Allison Gallery (1945), and at various Woodstock shows. In 1951 she had a solo exhibition at the Mollie Higgins Smith Gallery, Woodstock, where a review praised her pastels for possessing “an unusual quality of depth and rich strong color not normally associated with the delicate medium” (Kingston Daily Freeman 10 Sept. 1951: 5). A Woodstock News article on Bayard noted reviews in praise of Lucie’s work from Art Digest and Art News:[In] Miss Bayard’s painting – the flowers …possess vitality that contributes animation to each canvas – while their soundness of tactile substance does not prevent the impression of their fragile ephemeral character. She has a rich sense of color. Her work is modern and spirited – a vitality which flows, perhaps from the rapidity of execution and reveals a sure and personal touch.” 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-20" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Bayard, Lucie 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) Schmeer, Samantha (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 Number: FA18115 Format The file format, physical medium, or dimensions of the resource jpeg, 729 KB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 025 Federal Art Project Lucie Bayard New Deal Gallery painting still life https://openvalley.org/files/original/58e6956a20434b81ee805911dddf9f7b.jpg d307b0fda38d26606f01ec04b1340a47 https://openvalley.org/files/original/e26817e5cf15e6d14d61c47d89471ac9.jpg 72bb55e60a734c6ebc6f85348c36ee1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Woodcut on paper Physical Dimensions The actual physical size of the original image Iage: 4 x 5 in. Sheet: 8 3/4 x 11 1/2 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 Monsters Creator An entity primarily responsible for making the resource Becker, Frederick G. 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 Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1117 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 635 KB Type The nature or genre of the resource Still image Description An account of the resource In Monsters, white contour lines curve around humanoid figures. One figure is leaf shaped, stretching from the print’s top left corner to the bottom right. This leaf resembles a human face, with eyes, eyebrows, and even forehead lines at the top, a nose in the middle, and beneath it a mustache and mouth. The mouth looks like a leaf as well, its veins resembling cracked lips. Next to the figure is a drum set, where a tree branch extends up towards its ear. The natural element of this print continues with the second figure, who has a tree trunk for a neck, twisted branches stretching upwards. One of the branches has a snake head attached to it, and its forked tongue reaches out to the bass being strummed by the same figure’s large hand. This tree-person also wears a suit and tie like a proper jazz musician. They’re supported by two spindly hands for feet. 32 images at <a href="https://art.gsa.gov/people/926/frederick-g-becker/objects" target="_blank" rel="noopener">GSA</a>. Contributor An entity responsible for making contributions to the resource Derrell, Emma (description) Helquist, Morgan (photography) Federal Art Project Frederick G. Becker lithograph Music New Deal Museum https://openvalley.org/files/original/6eaaf43a9d608a7e1934f0220821dd32.jpg 16c4a9115da32f77eb2df4109f06cd70 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 Atlas map 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 Village of Wayland, NY (1873) Description An account of the resource Near top center, the warehouse of produce agents Capron and Fowler sits next to the Erie Railroad--where Sheffield Peabody sold much of his produce Creator An entity primarily responsible for making the resource Beers, D.G. Publisher An entity responsible for making the resource available D.G. Beers & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1873 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Atlas Of Steuben County, New York. From actual Surveys and Official Records Compiled & Published By D.G. Beers & Co. (1873) Reproduced courtesy of David Rumsey Map Collection Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB