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                <text>Illustration of the Middle Falls accompanies the poem "Mona-Sha-Sha," by William H.C. Hosmer</text>
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                <text>Private collection, Pittsburgh, Pennsylvania. [With]Hirschl &amp;amp; Adler Galleries, Inc., New York, Acquired by the present owner from the above, 1990.&lt;br /&gt;&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Thomas_Worthington_Whittredge_-_Autumn_on_the_Delaware.jpg" target="_blank" rel="noopener"&gt;Via Wikimedia Commons&lt;/a&gt;</text>
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                <text>We pause during a still moment, seemingly at dawn or dusk, as seven deer come to the Delaware River for water. Its placid surface and enclosure on all sides organizes the space; through a gap in the trees we behold mountains in the distance. Whittredge usually is grouped with other Hudson River School painters, and we see some characteristic techniques in this work: a vision of nature untouched by humans, fallen trees and snags to contrast his more scenic elements.</text>
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                <text>Maude Wiard was a student of the Geneseo Normal School in 1908. Eccentric and silly, her diary of “Commencement Activities” from Geneseo takes us through the lifestyle of a junior student with her friends before Geneseo became a State University. </text>
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                  <text>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." &lt;br /&gt;&lt;br /&gt;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. &lt;a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener"&gt;Follow this hyperlink to a short introduction to the New Deal Gallery collection&lt;/a&gt;. 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.&lt;br /&gt;&lt;br /&gt;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.</text>
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                  <text>Cooper, Ken (project director)&#13;
&#13;
Ritz, Abigail (photography and project assistant)&#13;
&#13;
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.&#13;
&#13;
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.</text>
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                <text>A cascade of water runs diagonally in Widlizka’s composition, separating two areas of trees standing on what appears to be rocky foundation. Much of the water is obscured by the trees, several of which are very dark green with some lighter shades behind them. It is hard to see what lies in the background, rendering the source of this torrent more obscure and mysterious. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;About the Artist&lt;/span&gt;: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then &lt;a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener"&gt;Nikolaus Gyzis&lt;/a&gt; in Munich. He was influenced by the art circles surrounding &lt;a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener"&gt;Franz von Lenbach&lt;/a&gt; and &lt;a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener"&gt;Hermann von Kaulbach&lt;/a&gt;. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting &lt;a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener"&gt;“Family Fate, 1918.”&lt;/a&gt; Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at &lt;a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener"&gt;FAP&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;Source Consulted&lt;/span&gt;: &lt;a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener"&gt;Wikipedia Germany&lt;/a&gt;.</text>
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                <text>Ritz, Abigail (photography)&#13;
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Bang, Jay (biography)&#13;
&#13;
Cooper, Ken (biography)&#13;
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                <text>New Deal Gallery, Genesee Valley Council on the Arts&#13;
&#13;
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