94 10 1402 https://openvalley.org/files/original/c859d77bb50325e4298c0b854021222d.JPG 1bed631faf5d166ecf58c56d9818e411 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: stained, 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 Winter Night Creator An entity primarily responsible for making the resource Widlizka, Leopold, 1870-1940 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 1935-1940 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bangsil, Kristopher (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 #FA18367 Format The file format, physical medium, or dimensions of the resource jpeg, 765 KB Type The nature or genre of the resource Still image Description An account of the resource This painting depicts a snowy mountainside. Tall, dark trees contrast the lighter highlights of the snow around them. In the distance, two mountain peaks are visible against the skyline. The trees progressively grow smaller in the distance, creating an element of perspective that makes the mountains tower over the foreground. The silhouettes of birds are seen flying over the ground, creating one source of movement in an otherwise completely still winter landscape. About the Artist: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. 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 <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> 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 <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">FAP</a>. Source Consulted: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>. <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"></a> Identifier An unambiguous reference to the resource within a given context 195 Federal Art Project Leopold Widlizka New Deal Gallery painting https://openvalley.org/files/original/fdb1de33c6443433f8b5ba0a58ef12aa.jpg 9323502154d0ba54243e7dd485096313 https://openvalley.org/files/original/04d765b7af35608cee7ed529ac65576e.jpg e20b0f2ae2c4082cd5105ebf29cbe086 https://openvalley.org/files/original/21ec5b73038c2310a350566a6e73392d.jpg 6bc8f2744b59126b778a3fce838bf59e https://openvalley.org/files/original/246cfa36f77acb8a7142e9f678472723.jpg 0d517ad20bf0abf0168efd0c21d01693 https://openvalley.org/files/original/d953379c8a249269d9d3a449f96a8331.jpg eceb608ab4a32a39e5b4229bd1625ac6 https://openvalley.org/files/original/1c0c1a5e3321947bfa2f0d2afa7bbb04.jpg 53dc9568cf3b357e1b25503fdd55767f https://openvalley.org/files/original/925b87ca3da3156e79070e0ce61c37a1.jpg e0d640051378a8ea4f0723b4b41dadd9 https://openvalley.org/files/original/0dde950aef2a9af057a76f601be0c8ec.jpg e4929623b693b09de2b90500e78aa011 https://openvalley.org/files/original/01b05381760a2057cfa2187b754e0754.jpg 908fcd0befba2f6b1cd061ab6397e777 https://openvalley.org/files/original/149f64a473501ff32f605feba129af46.jpg f9269c7b68a54c507b3fe39ab1cd8974 https://openvalley.org/files/original/827391c202379b313d9aa4208e636bdc.jpg 8037f1499192530bcb64adae240b818a https://openvalley.org/files/original/c869dd19bf9edded18e8e6d2996cd35b.jpg 57346e3964ca2bc27e7a556d6d24ae95 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 Chromolith Physical Dimensions The actual physical size of the original image 2.5 x 4.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Twelve Adirondack Sketches Creator An entity primarily responsible for making the resource Wilkie, Robert D. Publisher An entity responsible for making the resource available Louis Prang & Company Date A point or period of time associated with an event in the lifecycle of the resource 1875 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://www.flickr.com/photos/boston_public_library/4920222511/in/photostream/" target="_blank" rel="noopener">Boston Public Library, Print Department, via Flickr</a> Format The file format, physical medium, or dimensions of the resource 1. jpeg, 354 KB 2. jpeg, 381 KB 3. jpeg, 370 KB 4. jpeg, 338 KB 5. jpeg, 434, KB 6. jpeg, 355 KB 7. jpeg, 363 KB 8. jpeg, 381 KB 9. jpeg, 368 KB 10. jpeg, 400 KB 11. jpeg, 371 KB 12. jpeg, 350 KB Description An account of the resource The publisher Louis Prang was a noted producer of high-end chromoliths, often of original paintings, but he also published smaller and more affordable works. He had learned during the Civil War that souvenir prints of popular generals sold well, and turned to this "album card" format during the 1870s. Twelve Adirondack Sketches was one such series of 2 1/2 x 4 1/2 cards, sold for perhaps 50 cents. Wilkie depicts the area's scenic mountains, rivers, and lakes; he also renders aspects of its tourist infrastructure and important historical sites. The cards include: 1. Paul Smith Hotel 2. Pulpit Rock, Au-Sable 3. Schroon Lake 4. Lake Champlain 5. Camp Edgar, Lake Saranac 6. Lower Au-Sable Lake 7. Lake Placid 8. Birmingham Fall, Au-Sable Chasm 9. John Brown's Homestead 10. Lower Lake Saranac 11. Fort Ticonderoga 12. Entrance to Round Lake Source Consulted: Warder H. Cadbury, "The Adirondack Chromolithographs of Robert D. Wilkie," Adirondack Prints and Printmakers: The Call of the Wild, ed. Caroline Masten Welch (Adirondack Museum, 1998): 69-82. Adirondacks Ausable Chasm Lake Champlain Lake Placid Louis Prang Lower Saranac Lake Postcards Schroon Lake Watersheds https://openvalley.org/files/original/b838e78a406628baffd89ef047b5598d.JPG 20be8b27da0af7b3cb5db3c572f3b02b 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: pitted, pen marks, surface dirt Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Red Clown Description An account of the resource A clown dressed in a red costume and ruffled collar holds up a game of Tic-Tac-Toe to play with a dog—or is it a pig, given the body shape and curly tail? Behind them, a large crowd under a big-top tent watches the two perform. It’s not entirely clear what the clown’s gesture signifies, nor what the animal is supposed to do next. Willmott imparts colorful detail to the clown’s eyes, face and makeup, to the props of his trade. As with the work of fellow NDG artist Gerrit Hondius, there may be overtones of social criticism in circus paintings during the Great Depression. About the Artist: Born in New York to immigrants from England, Willmott grew up in Queens and studied at the Hartford Art School during the early 1930s. His varied subject matter and style was criticized, at a 1932 exhibit, for “going in too many directions at once....Each canvas is almost a new departure from every other one” (New York Evening Post 12 Mar. 1932: 3). Such eclecticism may have been better suited for commercial illustration, as in a puzzle book by F. E. Menaker entitled How Smart Are You? (1935). There may have been other such work not yet identified. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-17" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Willmott, Cyril, 1907-1968 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 1937-08-24 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Evenden, Elana (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 #FA18366 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context 194 Circus Cyril Willmott Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/e8072f56475eb91adef9fb7968c63f68.jpg 8cf4a0096d8d201e34587af76dd43d98 https://openvalley.org/files/original/0fce8c8ea2600825774900fabdace357.jpg 16d8cd1cfb33d298664cb3623f2291e1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In Front of Walker House, Silver Lake, NY Creator An entity primarily responsible for making the resource Wilson, Albert Date A point or period of time associated with an event in the lifecycle of the resource 1908-1915 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 724 KB jpeg, 348 KB Description An account of the resource Postcard shows guests taking in the scenery at a popular hotel located next to the Silver Lake Railroad. Actually, it was the second Walker House, the first having burned down in 1857. That earlier hotel was operated by Artemus B. Walker, whose desire to drum up business led to his role in an 1855 sighting of the so-called "Silver Lake Serpent." Two fisherman saw what they thought was a log, until a beast leaped from the water. Two years later, a fire at Walker House revealed the apparatus and he confessed to the hoax--it was an additional incentive to visit Silver Lake. Walker lived in Canada for a period, then returned to Silver Lake and built this later iteration of his hotel in 1869. He remained a promoter: his resort complex included boats, a diving platform, dance halls, and various amusements. Perry, NY Post Card Silver Lake Silver Lake Railroad Watershed https://openvalley.org/files/original/129066cf8bc4508bced4de781471705c.jpg 932570e8ccf18d7549e3b5730b670414 https://openvalley.org/files/original/c42d58bd8d33d7877b47ffe2da8011ce.jpg 53866ca7f87f9f7b655a8cf8ae6f147b 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 paper Physical Dimensions The actual physical size of the original image Window: 19 3/4 x 15 3/4 in. Sheet: 21 1/2 x 17 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 Cement Plant Format The file format, physical medium, or dimensions of the resource jpeg, 1.7 MB jpeg, 971 KB Description An account of the resource Three men are working in the yard of a cement and tar factory, located alongside a river; they lean into their work of moving large drums. There are small smokestacks on the building and tugs hauling barges in the background. Wilson uses asymmetrical lines, oriented in different directions, to shape the composition—including rooflines, roadways, river banks, lines of barrels, and even stacked pallets. The factory building is radically compressed into geometric shapes. Considering its industrial subject matter, the painting’s earth tones and splashes of pastel colors are visually pleasing and harmonize with the river and buildings on the opposite shore. The distinctively shaped bridge suggests that it might be one located at Hell’s Gate, in which case there is an intriguing historical possibility: at this time, WPA funds were constructing <a href="https://openvalley.org/items/show/2175">a massive swimming complex at Astoria Park</a> that required a lot of concrete. Juxtaposing that job site and Wilson’s painting clarifies the choices he made to idealize the worth of public works and a return of employment. Note: records indicate that this painting was allocated to "Sen. Buckley." This may have been <a href="https://en.wikipedia.org/wiki/John_L._Buckley" target="_blank" rel="noopener">John L. Buckley</a>, who represented NY State Senate District 15 between 1927 and 1942. Creator An entity primarily responsible for making the resource Wilson, Sol (1893 - 1974) 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 Hudson, Timothy (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 138 Type The nature or genre of the resource Still image Astoria Park Federal Art Project Hell Gate Bridge New Deal Museum painting Sol Wilson https://openvalley.org/files/original/75cadfc8f69db685424fc880eb5b3cb9.jpg 5d165e652c5d326495677a61f18f9d12 https://openvalley.org/files/original/b2e3ccc8330428115fe4a8118ccecd14.jpg 3cfd796f1c4b867963ccf442880bc17c 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 on paper Physical Dimensions The actual physical size of the original image 5.5 x 7 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Figure Subject Description An account of the resource Figure Subject is a print that showcases a nude woman looking off as she rests her arms and stands on a windy brick ground, barefoot. Wiltz plays with perspective by not having the road directly lead to the background--he even has the supposed ground blend in with a bridge. The woman’s body is split into muscle-group areas, creating distinct differences in different parts of her body. She is leaning on what looks like a wood structure, like a table, until you look closer and realize that it is stacked steel beams with a birdcage-like structure in front of it, creating the illusion. The print is composed in black and white, which seems to highlight the mundanity that is juxtaposed with the nude woman in a public space--which isn’t quite a real spot--and evokes how mass industrialization must felt. Public spaces were becoming unrecognizable. Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 803 KB Creator An entity primarily responsible for making the resource Wiltz, Arnold (1889 - 1937) 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 Loucks, Paige (description) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Museum, Mount Morris NY Object #FA 1581 Type The nature or genre of the resource Still image Arnold Wiltz Federal Art Project lithograph New Deal Museum Nude https://openvalley.org/files/original/292c2dd043c212b820f996d37b2174e3.JPG c58f006cf6ac211eb3a032e615ffad98 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 16 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 Mexican Still Life Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 Publisher An entity responsible for making the resource available Federal Art Projecct Date A point or period of time associated with an event in the lifecycle of the resource 1937-02-02 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Fernandez, Yadelin (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 #FA18369 Type The nature or genre of the resource Still Image Description An account of the resource We look at what appears to be a table, many different items rest on its surface. Towards the bottom right corner there is half of a block of cheese that is hidden through the strokes of the table. Moving further up into the middle ground, there is a pear standing on a blue piece of cloth and towards it right side there is clay pot resting on a red piece of cloth with strips. The pot has a dove resting on an olive branch. Behind these two objects, there is a orange hidden behind the pear and a flower pot with numerous Canna Lilies. The plant seems fatigued by the lack of space in the frame. Most of the objects presented in this piece are juxtaposed by its surrounding as these natural objects are constrained by their surrounding. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Identifier An unambiguous reference to the resource within a given context 197 Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/4b9fa3410e00febae1206d1d260f345c.JPG b1efa3b4e3910d70de4234d86e9ca5a1 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 16 in. Condition: chipped, 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 and Fruits Description An account of the resource Winograd uses a post-impressionist framework to depict household objects and the geometry of their surrounding space. Shapes are disrupted by vertical lines (like the pears and pitchers) or become radically abstracted (like green leaves as diagonals). The painting’s vivid colors and casual domesticity keep it from appearing clinical; rather, like the title of a magazine partially visible at lower left, it manifests the “Art” of everyday vision. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1937 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18370 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 198 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/2aada556b0457d10f9690402e2ed86e9.jpg 77863f0967fb4f0fadf783dce68ae903 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 16 x 20 in. Condition: 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 Mexican Bric-a-Brac Description An account of the resource The range of bric-a-brac depicted here is quite broad: a blue glass bottle, a painted ceramic plate, a napkin and cloth, a pair of blue shoes, a flower, a magazine, and what appears to be an avocado. Attempting to chart an underlying symbolism, in the manner of traditional still lifes, is perhaps less important than its Mexican location. Assembled with seeming informality, each object has an American counterpart that would be less unfamiliar. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 1937-06 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 #FA18371 Format The file format, physical medium, or dimensions of the resource jpeg, 964 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 199 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/22cc9feb3b24f15afb35bb1c3fd63475.jpg 4c28e2790d94a2efa957a9c1c134f282 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital 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 An Astronaut's View from Space Description An account of the resource Photograph taken (and tweeted) from the International Space Station just after sunset, over the ocean according to Wiseman. This image appears in OpenValley to populate a timeline created for the <a href="https://openvalley.org/exhibits/show/green-new-deal--social-surreal/a-timeline" target="_blank" rel="noopener">Green New Deal: Social Surrealism</a> exhibit. Creator An entity primarily responsible for making the resource Wiseman, Reid Publisher An entity responsible for making the resource available National Aeronautics and Space Administration Date A point or period of time associated with an event in the lifecycle of the resource 2014-09-02 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived NASA, Earth Right Now blog Format The file format, physical medium, or dimensions of the resource jpeg, 66 KB Type The nature or genre of the resource Still image Aerial view astronaut earth NASA satellite imagery