9 10 1402 https://openvalley.org/files/original/cc8f1382ca8047ec1bd94d5d9382e808.jpg 6aafc7f5fdfc9c80c7d923aca0e6311b https://openvalley.org/files/original/ad3ad53584ddea18958c56298af48638.jpg 5464c36a85afef43575d6f73c6130b68 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 Wood engraving Physical Dimensions The actual physical size of the original image Sheet: 9 x 7 1/2 in. Image:6 x 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 Ash Heap '19 Westinghouse '39 Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB jpeg, 1MB Creator An entity primarily responsible for making the resource Pont, Charles E[rnest], 1898 - 1971 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1939 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 Gallery, Mount Morris NY Object #FA 1385 Type The nature or genre of the resource Still image Description An account of the resource This otherworldly woodcut is set in a real-world location: the Corona ash dump in Flushing Meadows, Queens. Originally the site of a proposed new industrial port in the early 20th century, its owner imported trainloads of ash from Manhattan to fill in marshlands—an estimated 50 million cubic yards, averaging thirty feet in height. When that scheme failed and residential housing expanded into the area, it became harder to ignore the <a href="https://en.wikipedia.org/wiki/Flushing_Meadows%E2%80%93Corona_Park#/media/File:Valley_of_Ashes.jpg" target="_blank" rel="noopener">stark contrast</a> between All-American homes and the Corona dump, which was the model for F. Scott Fitzgerald’s “Valley of the Ashes” in his novel The Great Gatsby (1925). Pont strips away most of the area’s details to create topographic forms with patterned lines, seemingly alive beneath the tiny trains riding over them. The print’s extreme contrast in lighting, especially overhead, creates an apocalyptic tone to the scene. One person in the foreground carries a large bag, perhaps alluding to the removal of encampments (by bulldozers) during a redevelopment program in 1938-39. New York Parks Commissioner Robert Moses created a 900-acre site that included grounds for the 1939 World’s Fair, whose theme was “The World of Tomorrow.” Pont’s title probably alludes to one of the fair’s corporate participants: Westinghouse built a “Hall of Electrical Living” that it called “a forecast of the future as foretold by the industrial and technical developments of today” (Official Guide Book 156). In the hands of the evangelical Pont, however, the promise of technological new ages are built upon the ashes of earlier ones. Compare this woodcut to Pont’s similar <a href="https://digital.wolfsonian.org/node/67481" target="_blank" rel="noopener">Corona Ash Dump '29 World's Fair Food Section '39</a>. About the Artist Born in Saint-Julien-en-Genevois, France, Pont was abandoned by his mother at three months old in New York City and raised by a German immigrant couple. Like many children during those times, he was working by age fifteen in a variety of jobs. A serious illness in 1918—he was given six months to live—led Pont to become a born-again Christian; thereafter, his religious studies and eventual ministries melded with an exceptional artistic talent. As a book jacket described, he “entered into an unusual evangelistic career, drawing scenes and figure groups from the Bible in full color while preaching” (World’s Collision). Pont studied at the Pratt Institute and, as a 35-year-old carpenter and housepainter, won a scholarship at the Art Students League. Most of Pont’s work for the Federal Art Project took the form of woodcut prints, often with nautical subject matter. During this period Pont also was a tireless commercial illustrator whose output ranged from extremely technical diagrams, like Joseph Leeming’s <a href="https://archive.org/details/funwithpaper0000jose/mode/1up?" target="_blank" rel="noopener">Fun With Paper</a> (1939); to numerous book <a href="https://archive.org/details/expositorynoteso0000litt/mode/1up" target="_blank" rel="noopener">covers</a> for the evangelical minister H.A. Ironside; to more evocative works like Alan Viliers’ <a href="https://archive.org/details/whalersofmidnigh0000alan/mode/1up" target="_blank" rel="noopener">Whalers of the Midnight Sun</a> (1936). This last title stands in for many illustrations for maritime-themed books, often for younger readers. Pont himself published an intriguing synthesis of theology, speculative architecture, and illustration called <a href="https://archive.org/details/tabernaclealphab0000char/page/n6/mode/1up" target="_blank" rel="noopener">The Tabernacle Alphabet</a> (1946). In later years he moved to Wilton, CT living in a home he himself had constructed. He passed away in 1971.11 works at <a href="https://www.philamuseum.org/collection?artist=Charles%20E.%20Pont" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 4 works at <a href="https://americanart.si.edu/artist/charles-e-pont-3834" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 16 works at <a href="https://www.metmuseum.org/art/collection/search?q=Charles+Ernest+Pont&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 4 works at <a href="https://www.nga.gov/artists/33895-charles-ernest-pont" target="_blank" rel="noopener">National Gallery of Art</a>. 3 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-31" target="_blank" rel="noopener">FAP</a>. 14 images at <a href="https://art.gsa.gov/people/2183/charles-ernest-pont/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Official Guide Book, New York World’s Fair 1939. Exposition Publications, 1939 <a href="https://archive.org/details/1939-nyworlds-fair-official-guidebook/page/156/mode/1up" target="_blank" rel="noopener">Link</a>; Charles E. Pont, The World’s Collision (W.A. Wilde, 1956); “Charles E. Pont,” Wikipedia <a href="https://en.wikipedia.org/wiki/Charles_E._Pont" target="_blank" rel="noopener">Link</a> 1939 World's Fair Charles E. Pont Corona Ash Dump Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/8479261f378f92eb2c8989d6f49aae53.jpeg 053690738ad3a9b3edc87a93d0180111 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 Atlas map Physical Dimensions The actual physical size of the original image 4" x 5" 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 Ashantee Mills, 1902 Description An account of the resource This detail from a 1902 maps shows the Littleville area on Conesus Creek, near the village of Avon NY Publisher An entity responsible for making the resource available Century Map Company 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 New Century Atlas of Livingston County, New York, With Farm Records (Philadelphia: Century Map Co., 1902) Format The file format, physical medium, or dimensions of the resource jpeg, 12.8 MB Ashantee Avon, NY Conesus Creek Littleville, NY mills https://openvalley.org/files/original/62cc1c63a80f6201cae72a42962d703f.jpg a9a909163cd5ad400737950315f86505 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 20 x 24 in. Condition: surface dirt, peeled paint 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 Asters in Chinese Pot Description An account of the resource An ornate ceramic pot serves as the base for seven light pink flowers. With thick brown stems and plenty of green leaves, the flowers stand strong in the pot filled with dirt. The scene depicted on the pot brings culture and an ornate air to the scene. Against a monochrome backdrop, the painting’s foreground encompasses a tan, stitched mat where the pot and flowers are perched. About the Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. Creator An entity primarily responsible for making the resource Alger, John [Herbert], 1879-1967 Publisher An entity responsible for making the resource available Federal Arts Project Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photographer) McCrohan, Niamh (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #18107 Format The file format, physical medium, or dimensions of the resource jpeg, 636 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 017 Federal Art Project John Alger New Deal Gallery painting https://openvalley.org/files/original/d10dca33ea5d62c11c411a8f0bfe5b67.jpg cd07d1ddb9c11041775bb133f3dbb740 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 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 Astoria Park Swimming Pool, Bird's Eye View Looking North Creator An entity primarily responsible for making the resource New York Department of Parks Publisher An entity responsible for making the resource available NYC Department of Records and Information Services Date A point or period of time associated with an event in the lifecycle of the resource 1935-09-23 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a class="metadata-link new-primary new-primary-tint-hover" href="https://nycrecords.access.preservica.com/?s=&hh_cmis_filter=oai_dc.source%2FREC0125+New+York+City+Department+of+Parks+photographs++&saved_filters=oai_dc.source%2FREC0125+New+York+City+Department+of+Parks+photographs++" title="More like this">REC0125 New York City Department of Parks photographs </a> Format The file format, physical medium, or dimensions of the resource jpeg, 5.9 MB Description An account of the resource Construction of the swimming pool at Astoria Park, Queens was facilitated by funding from the Works Progress Administration (WPA), arriving just as Robert Moses became Commissioner of Parks for New York. Swimming in the East River at Hell Gate resulted in numerous drownings, and social standards had changed enough during the 1920s to enable mixed-gender bathing. This was the most famous of several built during the mid-1930s: an Olympic-sized pool (in fact used as the siet of US trials for the 1936 Olympics), along with a diving and a children's pool. It could accommodate a staggering 5,000 visitors. The photograph here shows the pool under construction in 1935, which was completed within a year. The Hell Gate Bridge can be seen in the background. It's of interest because it may have been the location for <a href="https://openvalley.org/items/show/2174" target="_blank" rel="noopener">Sol Wilson's 1935 painting Cement Plant</a>, facilitated by the Federal Art Project. Type The nature or genre of the resource Still image Astoria Park Hell Gate Bridge swimming pool Works Progress Administration https://openvalley.org/files/original/b3c74f521dbb728cb2d302afb2ca36d1.jpg 39cd45835a92324472c35712c739c26f 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 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 Atlantic Coast Stream of Migrant Farm Workers Creator An entity primarily responsible for making the resource U.S. Agricultural Research Service Publisher An entity responsible for making the resource available U.S. Department of Agriculture Date A point or period of time associated with an event in the lifecycle of the resource 1955-01 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived William H. Metzler, Migratory Farm Workers in the Atlantic Coast Stream: A Study in the Belle Glade Area of Florida (Circular #966), U.S. Department of Agriculture, Jan. 1955. Description An account of the resource Map shows a somewhat idealized pattern of migrant farm labor on the east coast during the mid-twentieth century. As many as an estimated 58,000 workers in 1949 followed harvests northward. They were primarily Black, and worked in "areas of intensive vegetable and fruit production with high labor requirements" (4). In New York state, those crops usually were potatoes and apples. Seasonal migration declined along with the number of farms and a tendency for workers to remain year-round in a particular location. Format The file format, physical medium, or dimensions of the resource jpeg, 557 KB Type The nature or genre of the resource Still image Agriculture farming Geneseo Migrant Center - Map migrant workers https://openvalley.org/files/original/937e7d037ba8cb303c026baddd71649a.jpg 7cdcf7d03572198356d03aae7c3cf694 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. 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 Auction in New England Creator An entity primarily responsible for making the resource Campbell, Blendon Reed (1872 - 1969) 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 1937-05-13 Contributor An entity responsible for making contributions to the resource Cooper, Ken (description and biography) Killela, Keira (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived Archives of American Art Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Description An account of the resource Compare this slightly earlier lithograph to Campbell's <a href="https://openvalley.org/items/show/2136" target="_blank" rel="noopener">New Hampshire Auction</a> (1938) to appreciate the artist's stylistic fluidity through the years. The situation is virtually identical: we're spectators on the outer fringes, perhaps witnessing the sale of farm and its contents. There's even a sleigh in the foreground, although here it's not a spectator watching the auction but (perhaps) a traumatized owner who can't bear to watch. A much harsher, high-contrast lighting gives the scene a documentary and even brutal quality that is matched by the physical actions. A glowering man carries a barrel from out of the cellar; the full bodies of bidders is shown pressing forward, instead of the later print's more abstracted forms. All of this suggests that Campbell may have considered his earlier print more documentary, and borrowed a social surrealist aesthetic for the revision. As he wrote in a 1934 article, "The problem-picture—the one that has to be explained—seems to have a vogue nowadays. Here is a field for the propagandist, where he has a new idea to get across. Some artists paint so one grasps the entire picture at one all-encompassing glance; others so something new can be read into the painting at each new look." About the Artist Blendon Reed Campbell was an American illustrator and painter whose life path, and even visual style, fundamentally transformed alongside events of the early 20th century. Born in St. Louse in 1872, he moved to San Francisco two decades later and began his career as a staff artist for the Chronicle. In 1897, Campbell relocated to Paris, studying at the Académie Julien and exhibiting at the American Art Association show in Paris. Upon his return to the US in 1900, he joined a short-lived studio under James Abbott McNeill Whistler. In 1902, Campbell joined a group that founded the California Society of Artists with the intention of providing opportunities for young artists outside of the already-established San Francisco Art Association; still, he moved East to sustain his career. In New York, Campbell was a prolific commercial artist, creating covers and illustrations in the Art Nouveau style for periodicals like <a href="https://archive.org/details/rare-posters-rare-posters-15-nobember-2020/page/n42/mode/1up" target="_blank" rel="noopener">Scribner’s</a>, <a href="https://archive.org/details/Cosmopolitan190502" target="_blank" rel="noopener">Cosmopolita</a>n, <a href="https://archive.org/details/McCluresMagazineV30n05190803/mode/1up" target="_blank" rel="noopener">McClure’s</a>,  <a href="https://archive.org/details/stnicholasv34part1dodgrich/page/194/mode/1up" target="_blank" rel="noopener">St. Nicholas</a>, and many others. In addition to magazine work, he provided illustrations for several books including Neith Boyce’s <a href="https://archive.org/details/eternalspringnov00boyciala/eternalspringnov00boyciala/" target="_blank" rel="noopener">The Eternal Spring</a> (1906), Booth Tarkington's <a href="https://archive.org/details/beautifullady0000unse/page/22/mode/2up" target="_blank" rel="noopener">The Beautiful Lady</a> (1905), and William J. Locke’s <a href="https://archive.org/details/christmasmystery00lock/page/n15/mode/2up" target="_blank" rel="noopener">A Christmas Mystery</a> (1910). Some of Campbell’s most frequently reproduced works focused upon Abraham Lincoln: in <a href="https://archive.org/details/lincolncentenary01abba/page/n79/mode/2up" target="_blank" rel="noopener">The Century Magazine</a> (1908), Ida M. Tarbell’s biography <a href="https://archive.org/details/fatherabraham00tarb/page/n7/mode/2up" target="_blank" rel="noopener">Father Abraham</a> (1909), and Osborn H. Oldroyd’s <a href="https://archive.org/details/bwb_T5-CRO-626/page/248/mode/2up" target="_blank" rel="noopener">The Poet’s Lincoln</a> (1915). Meanwhile, Campbell also was in demand as a portrait painter. While in New York, Campbell became a charter member of the Whitney Studio Club. In line with his work in California, that association was an important venue for artists of the time who intended to push academic norms. During the Great Depression, Campbell was amongst many artists who participated in the Federal Arts Project. His work from this period often depicted rural life and labor. In later years Campbell lived in Connecticut and Florida with his daughter, also an artist, before passing in 1969. 10 Works at <a href="https://www.philamuseum.org/collection?artist=Blendon%20Reed%20Campbell" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 10 works at <a href="https://whitney.org/artists/222" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 5 works at <a href="https://collections.newarkmuseumart.org/search/Blendon" target="_blank" rel="noopener">Newark Museum of Art</a>. 1 work at <a href="https://artuk.org/discover/artworks/day-a-group-of-female-figures-dancing-on-a-seashore-39896/search/2026--keyword:blendon--referrer:global-search" target="_blank" rel="noopener">Victoria Art Gallery</a>. 6 images at <a href="https://art.gsa.gov/people/1314/harold-faye/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “With the Artists,” San Francisco Chronicle 5 Mar. 1899: 22; “Art Triumphs,” Oakland Enquirer 23 Jan. 1900:1; Marjorie Zak, “A Visit With Blendon Campbell,” Bradenton Herald 27 July 1969: 1-B+; Blendon Reed Campbell, “Surrealism: New School of American Art,” The Literary Digest 15 Dec. 1934: 19 <a href="https://archive.org/details/literary-digest_1934-12-15_118_24/page/19/mode/1up" target="_blank" rel="noopener">Link</a> https://openvalley.org/files/original/e2fedeba03902bd39c0bf79edf2903f1.jpg 271f1e307dd102f50daf761f79d744ea 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 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 Auspice Maria Description An account of the resource "Under the Protection of Mary" is the usual translation for this emblem blessing the Catholic Church's approved ceremonial book. First published in 1829, it was by 1894 in its 8th edition and used in churches like St. Columba in Caledonia, NY. Ecclesiastical heraldry shows the book's approval to have been made by a bishop: the "galero" hat at top, and the ten tassels underneath on each side. Publisher An entity responsible for making the resource available John B. Piet & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1894 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Joseph Rosati, "Ceremonial for the Use of the Catholic Churches in the United States of America," 8th ed. (Philadelphia: H. L. Kilner & Co., 1894): iii. Internet Archive Format The file format, physical medium, or dimensions of the resource Book illustration Caledonia, NY St. Columba Catholic Church https://openvalley.org/files/original/ba72811eb5e02782eda3ded7d5aa99d5.jpg 201c7a5f032366cfc6508394ce3c28dc https://openvalley.org/files/original/a6dcc0367482678705f265e2b0a1a226.jpg 4cd18eaa9527685ed05f718b3583c6c3 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 20 in. Condition: surface dirt, chipped, peeled 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 Autumn Creator An entity primarily responsible for making the resource Fastovsky, Isaac, 1889-1980 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 1937-03-09 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 #FA18149 Format The file format, physical medium, or dimensions of the resource jpeg, 724 KB jpeg, 9.2 MB Type The nature or genre of the resource Still image Description An account of the resource A deft hand with tonal color renders Fastovsky's autumnal landscape somewhat different from what we expect in paintings of that season. We look down upon a valley whose brightest colors are literally marginalized--as borders between agricultural fields--except for blazing oranges at middle right. Houses and roads leading down a precipitous hillside, along with a mountain rising on the valley's other side, allow for an unusually large area for such a compact composition. About the Artist: Born in Chernobyl, Russia, Fastovsky studied at the Imperial Academy of Arts in Kiev before immigrating to the US in 1913 and becoming a citizen in 1921. He showed his work at Municipal Art Galleries, New York, in 1938. Fastovsky legally changed his name to Isaac Foster in 1946 and by 1955 was living in Tuscon, AZ, showing his paintings at local sites and restoring old canvases. Looking back upon his work for various federal art projects, he estimated that he had created 40-50 paintings during this period: “Someday I’m going to visit various state and federal buildings throughout the country and see if I can locate the pictures. I don’t have any idea where they’re hanging now” (Arizona Daily Star 16 Oct. 1955: 24). 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-7-folder-4">FAP</a>. Federal Art Project Isaac Fastovsky New Deal Gallery painting https://openvalley.org/files/original/219413a710bb346d6f8418f899b52074.jpg c72df985d81a2a6ac71c8026e4263bb0 https://openvalley.org/files/original/ac41e90455b3527f833b2fdda31b75bc.JPG e01d6db130846a4b21e0fdf0f1def43e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil Painting Physical Dimensions The actual physical size of the original image 24 x 30 in. Condition: surface dirt 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 Autumn Bouquet Description An account of the resource We see a wooden table, whose surface appears to consist of different textures, one half smooth and the other ridged. It becomes the space for an arrangement of autumn flowers and leaves in a white ceramic bouquet vessel, flowers painted on the vase itself. It rests on the table unnaturally, appearing two-dimensional. Bright white, orange and yellows are contrasted with dark browns, red and coppers colors to complete this bouquet. As the fall flowers begin to droop, winter seems to be in the near future. Caloenesco's background space creates a frame for the bouquet with an off-white background surrounded by a beige border; almost replicating the shape of the vase itself. About the Artist: Born in Romania, Caloenesco— her name sometimes misspelled as “Aurica Calonesco”—studied at the Beaux-Arts School, Bucharest, and exhibited even during the German occupation. She traveled to Paris in 1918 on an art scholarhip and received guidance from Picasso, Utrillo, and Modigliani. In 1926 she married Robert C. Hallowell, who along with Walter Lippman and Herbert Croly founded the New Republic magazine (he had become an artist himself in 1925, devoting his energies to watercolors and portraits, including Theodore Roosevelt and the revolutionary John Reed). Caloenesco exhibited in Paris at the Salon des Artistes Independants and Salon de la Societe des Artistes Francais, 1922-1928, in New York City in solo shows and with her husband at the Montross Gallery (1929) and the Delphic Studios (1936). Responding to her 1931 show at Hartford’s Colonial Galleries a reviewer wrote: “Along with color and composition, she is preoccupied with line wherein can be found much of the beauty of her work. Her lines are always sweeping, flowing, and very live. Most of her pictures are flat, with no attention to the tricks of achieving three dimensional effects by the use of light and in accordance with the school which claims that two dimensional canvas should be used to represent two dimensional things” (Hartford Courant 23 Mar. 1931: 2). During 1935-36 Robert Hollowell served as assistant to the director of the Federal Art Project; he died in 1939 while working on a mural. 4 images at University of St. Joseph <a href="http://artcollection.usj.edu/THA83?sid=36027&x=1572985" target="_blank" rel="noopener">Art Museum</a>. 1 work at <a href="https://libraryguides.lib.iup.edu/c.php?g=419334&p=2905115" target="_blank" rel="noopener">Indiana University of Pennsylvania</a>. Creator An entity primarily responsible for making the resource Caloenesco, Aurelia, 1895-1968 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 (photographer) Caldwell, Julia (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 #FA18127 Format The file format, physical medium, or dimensions of the resource jpeg, 905 KB jpeg, 12.5 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 037 Aurelia Caloenesco Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/0599b1f4a3d14d934b4ae0de242b1a0c.JPG ca003be989254c7e9515a40bbd3c1742 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 18 x 22 in. Condition: surface dirt, cracked paint, flaking, stained & torn 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 Autumn Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource Against a backdrop of muted, almost murky tones in brown, green, and tan, we see a still life of flowers in an earthenware jar along with various fruits. Their colors likewise are subdued; golds, reds, and oranges are illuminated by autumnal light in this pensive composition. About the Artist: We haven’t been able to locate much reliable information about this artist. Born Sneier Zemachson in Sulwalki, Lithuania, he immigrated to Toledo, OH in 1910 and became a US citizen around 1939. He was the son of respected liturgical composer Simon Zemachson, and his brother Arnold became one in his own right while living in America; Samuel later became a caretaker and editor of their work. He studied at the National Academy of design and was awarded a prize for his still lifes in 1925. His “Still Life” was purchased by the city of Albany, NY in 1936 through the Federal Art Program. For an unexplained reason, there is 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-40" target="_blank" rel="noopener">FAP</a> in the name of his son Paul—who at that time was less than a year old. Creator An entity primarily responsible for making the resource Zemachson, Samuel, 1902-1987 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) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18375 Federal Art Project New Deal Gallery painting Samuel Zemachson still life