1 10 1402 https://openvalley.org/files/original/b45f4d29ec1dc69663302f7db9aa17c9.jpg 2150d22e4f802cb10283ac2ac0e2aa88 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 Lithograph 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 Emblem of Strength and Courage Description An account of the resource An eagle sits atop a blasted tree, apparently screeching at four planes flying overhead. Nakamizo's print was selected for inclusion at a 1943 exhibition sponsored by Artists for Victory, and can be taken as an afirmation of American resistance to Axis militarism. The image is complicated, however, by Nakamizo's internment at the Topaz War Relocation Center in Utah at the time his lithograph was created. A small structure in the background and lines suggestive of rising smoke also suggest a broader critique of  war, which he was experiencing at first hand. Note: an image of Nakamizo's print, formerly viewable at the <a href="https://www.loc.gov/item/2003672396/">Library of Congress website,</a> has been removed. This low-resolution image comes from a 2011 traveling exhibit created by the Smithsonian American Art Musueum, The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942 – 1946 <a href="https://americanart.si.edu/exhibitions/gaman">Link</a>. It's included here as an important accompaniment to Nakamizo's other paintings and lithographs of birds. About the Artist: Born in Fukui Prefecture, Japan, Nakamizo—whose name sometimes was spelled “Fugi”—immigrated to the US in 1907, living in Grand Rapids, MI and working as a decorator. He later moved to New York and studied at the Art Students League with <a href="https://en.wikipedia.org/wiki/Frank_DuMond" target="_blank" rel="noopener">Frank DuMond</a> and <a href="https://en.wikipedia.org/wiki/Joseph_Pennell" target="_blank" rel="noopener">Joseph Pennell</a>. During the early 1920s, he appears to have created an etching of the medical researcher Dr. Hideyo Noguchi that hung in the Nippon Club, New York (Piper). By the 1930s he was fairly well known, especially for his etchings of birds, and exhibited at places like the League Gallery (1933), Montross Gallery (1934), the Brooklyn Museum (1935), the Art Institute of Chicago (1935); and the Carl Fischer Gallery (1936). In 1936 he contributed photographs and illustrations to feminist author Baroness Shidzue Ishimoto’s East Way, West Way: A Modern Japanese Girlhood. In 1943, Nakamizo’s etching “Emblem of Strength and Courage” was chosen for a national exhibition sponsored by the group Artists for Victory; this painting of <a href="https://www.loc.gov/item/2003672396/" target="_blank" rel="noopener">an American eagle</a> surrounded by warplanes may have been ironic, since <a href="https://2.americanart.si.edu/pr/library/2010/gaman/gaman_checklist.pdf" target="_blank" rel="noopener">some sources</a> place him at a Japanese internment camp during World War II. 2 works at <a href="https://americanart.si.edu/artist/fugi-nakamizo-3485" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 3 works at <a href="https://emuseum1.as.miami.edu/people/1489/fuji-nakamizo/objects" target="_blank" rel="noopener">Lowe Art Museum</a>. 6 works at <a href="http://digitalarchives.queenslibrary.org/search/browse/%2A?fq%5B0%5D=sm_relation%3AQueens%20Library%20New%20Deal%20Art%20Project%20Artwork&f%5B0%5D=sm_creator%3AFuji%20Nakamizo" target="_blank" rel="noopener">Queens Library</a>. 1 work at the <a href="https://www.nga.gov/collection/art-object-page.145773.html" target="_blank" rel="noopener">National Gallery of Art</a>. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-5" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Jean Piper, “Scientist Acts Like Human Dynamo,” Brooklyn Daily Eagle 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener">Artists for Victory: An Exhibition Catalog</a> (Library of Congress, 1983). Creator An entity primarily responsible for making the resource Nadamizo, Fugi, 1889-1950 Date A point or period of time associated with an event in the lifecycle of the resource 1942 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Beth Secor, " 'The Art of Gaman' at the Holocaust Museum Houston," Glasstire 28 July 2015 <a href="https://glasstire.com/2015/07/28/the-art-of-gaman-at-the-holocaust-museum-houston/">Link</a> Format The file format, physical medium, or dimensions of the resource jpeg, 267 KB Publisher An entity responsible for making the resource available US Library of Congress Type The nature or genre of the resource Still image Fuji Nakamizo Internment Camp lithograph World War II https://openvalley.org/files/original/574c921976692a6baf779c816d8bc011.jpg a261468d51cefc0d182759ea0459992d 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 Etching Physical Dimensions The actual physical size of the original image 16 x 17 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 Walter Whitman Creator An entity primarily responsible for making the resource McMillan, Leo A. (1883 - 1944) 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 Taylor, Nadia (description and biography) Cooper, Ken (biography) Hellquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mt. Morris NY Object #FA 3745 Format The file format, physical medium, or dimensions of the resource jpeg, 944 KB Description An account of the resource A tightly framed portrait shows the elderly American poet in profile, informally dressed. McMillan's etching creates texture and expressive lines on Whitman’s face, applying fine strokes to achieve realism. Whitman’s hair and beard are at the center of the composition, rendered with calligraphic marks that enhance his facial features. The eyes are slightly shadowed, and the background is minimally articulated to make his face appear more statue-like. Like McMillan's other portraits, one implied goal is to honor elders whose hard-earned wisdom is shown upon their grizzled faces. Walt Whitman was born in Long Island and began his working life as a printer, journalist, and teacher before turning to poetry. In 1855, Whitman published the landmark collection <a href="https://en.wikipedia.org/wiki/Leaves_of_Grass" target="_blank" rel="noopener">Leaves of Grass</a>, which helped establish his controversial reputation and profoundly influenced American poetry. Throughout his career Whitman carefully cultivated his visual image; the <a href="https://whitmanarchive.org/pictures-sound-video/gallery-of-images?page=1" target="_blank" rel="noopener">Walt Whitman Archive</a> has collected more than a hundred posed photographs. Here, McMillan draws upon Whitman later in life, a period when his public persona had become that of the “Good Gray Poet.” McMillan’s portraits of informal yet profound men echo the WPA’s democratic ideals, portraying everyday Americans with dignity and emotional depth.  About the Artist Leo Angus McMillan was born in Au Sable, MI to Scottish immigrant parents and later lived in Detroit. After briefly enlisting in the army, in 1908, he studied at the Detroit School of Design and had <a href="https://archive.org/details/bulletinofdetr00detr1904/page/n283/mode/1up" target="_blank" rel="noopener">an early portrait</a> featured by that city’s art museum. As of 1918 McMillan’s occupation was listed as a self-employed cartoonist, perhaps suggesting freelance commercial work and portraiture. Yet it seems that his life tilted toward the necessities of supporting a wife and four children: census records indicate work as a real estate agent (1920) and a “commercial traveler” for a paint company (1930). During the late 1930s, McMillan was employed by the Graphic Arts Division of the Federal Art Project, producing at least five lithographs—interestingly, all of them sensitive portraits of older men. Between 1940 and 1942, he worked as “contact executive” for the Michigan Art and Craft Project, a spin-off of the Federal Art Project that supported mural work, wood carving, puppetry, and other crafts. McMillan’s commercial background may have landed him the administrative role. By this time, U.S. mobilization and then entry into World War II meant that artistic labor would be “entirely committed to war service,” as he explained. Five trucks loaded with hand-made furniture, wool rugs, ceramic lamps, woven drapes, and decorative screens were sent to the 184th Field Artillery unit at Fort Custer (Bower). It was a strange ending to the Federal Art Project and McMillan’s working life, for he passed away in 1944, but his dignified portraits of artists, musicians, and thinkers survive him. 1 work at <a href="https://umma.umich.edu/objects/musician-1943-85/" target="_blank" rel="noopener">University of Michigan Museum of Art</a>. 2 works at <a href="https://ackland.emuseum.com/people/6531/l-a-mcmillan/objects" target="_blank" rel="noopener">Ackland Art Museum</a>. 1 work at <a href="https://jsmacollection.uoregon.edu/mwebcgi/mweb?request=record;id=15823;type=101" target="_blank" rel="noopener">Jordan Schnitzer Museum of Art</a>. 1 work at Metropolitan Museum of Art. 3 images at <a href="https://art.gsa.gov/artists/2059/leo-a-mcmillan/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Fort News,” The Leavenworth Post 22 July 1909: 5; Ancestry.com; Helen Bower, “WPA Work Furnishing Army Rooms,” Detroit Free Press 27 Feb 1942: 3. Type The nature or genre of the resource Still image Etching Federal Art Project Leo A. McMillan Michigan Art and Craft Project New Deal Gallery Walt Whitman https://openvalley.org/files/original/5110c2ebc1785ab15ff48a740a967a32.jpg 82aca2c4240bf6f2fd894a7d90d5f1f5 https://openvalley.org/files/original/9fd7554d45c73deea67d2ca379cf6547.jpg 376e9f5f4b4d7e78ecbc44b04a1ce4c3 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 Lithograph Physical Dimensions The actual physical size of the original image 12 1/4 x 15 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/. Description An account of the resource In the foreground are four children and a dog, each making a somewhat inscrutable gesture. Behind them, in the middle ground, another child walks toward them using a pair of crutches—again, leaving us to speculate as what has happened and the relationship between him and the other children. The seemingly urban setting of Moxom’s scene feels quite crowded, almost like pieces in a puzzle. A few hills in the distance provide the only sense of spaciousness; in fact, the abstract buildings resemble very large building blocks, and even more strangely their shapes are echoed in the organic figures: one boy’s hat and the rounded turret; a cupula and the dog’s ears; various body parts and planes of structures. Moxom uses tonal shading to create three-dimensional, even sculptural forms. Perhaps there’s a suggestion that the world of children and their “games” are deeply immersive, or that childhood is itself a strange construct. Both the subject matter—children—and Moxom’s rendering of figures have similarities to his earlier FAP work on murals. About the Artist John (“Jack”) Swanston Moxom was born in Calgary, Alberta, immigrating with his family to San Francisco in 1925. He lived in the Bay Area the rest of his life. Moxom studied at the California School of Fine Art, then received his first commission through the FAP for a sculpture at the Sarah B. Cooper Memorial, Golden Gate Park. His subject matter of a young girl with a cat and a squirrel at her feet seemed appropriate to honor the educational reformer. Moxom later recalled, however, that his inexperience led him to choose a variety of sandstone that was beautifully flesh-colored but “darkened to a bloody red when the water hit it” (McChesney). Moxom’s main artistic contributions to the FAP took the form of murals at what was then called the San Francisco Teachers College (now SF State). Over two years, he created an estimated 10-15 separate murals ranging from a 12’ x 9’ work for a childrens’ library, to various works integrated into a building’s architecture (“Frederic Burk”). Eventually the murals were painted over, until a 2015 restoration project converted 55 Laguna Street into affordable senior housing for the LGBTQ+ community. Moxom also worked at the Hillsborough District School to create a 60 ft. painted mural for its auditorium, depicting the conquistador Juan Bautista De Anza encountering a variety of Native Arts (McChesney; SF Art Ass’n). In later years Moxom studied with the Italian painter Giorgio de Chirico, but he always credited the FAP’s support for young artists: “...some place for a studio, some facilities to make a beginning, some nucleus would permit the painter to live on a restricted budget....It's deadly, competition. Partly because most of us would always lose and those who win might not be the best ones. I mean, God himself couldn't tell what the results are going to be before we've begun” (McChesney). 2 works at the <a href="https://www.philamuseum.org/collection?artist=John%20%28Jack%29%20Moxom" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 1 work at <a href="https://dia.org/collection/verna/55078" target="_blank" rel="noopener">Detroit Museum of Art</a>. 1 work at the <a href="https://www.annexgalleries.com/inventory/detail/AFAE138/John-S-Moxom/Sonia--WPA" target="_blank" rel="noopener">Annex Galleries</a>. 3 images at <a href="https://art.gsa.gov/people/2035/john-s-moxom/objects" target="_blank" rel="noopener">GSA</a>. Works  Consulted: Mary Fuller McChesney, “Oral History Interview with Hebe Daum Stackpole and Jack Moxom,” 9 Jan. 1965, Archives of American Art New Deal and the Arts Project <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-hebe-daum-stackpole-and-jack-moxom-12293" target="_blank" rel="noopener">Link</a>; San Francisco Art Association Bulletin 5.9 (April 1939): 2 <a href="https://archive.org/details/casfai_000061/page/n1/mode/1up" target="_blank" rel="noopener">Link</a>; Shelley Caltagirone, Historic Preservation Commission Review of 55 Laguna Street 10 Dec. 2015 <a href="https://commissions.sfplanning.org/hpcpackets/2004.0773E_2012.0033E.pdf" target="_blank" rel="noopener">Link</a>; “Frederic Burk School Notes,” Golden Gator 31 Mar. 1936: 4 <a href="https://archive.org/details/casfuahc_000808/page/3/mode/1up" target="_blank" rel="noopener">Link</a> Title A name given to the resource Children Creator An entity primarily responsible for making the resource Moxom, John ("Jack") Swanston, 1913 - 2004 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 1940 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 1337 Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB jpeg, 1.4 MB Type The nature or genre of the resource Still image Federal Art Project Jack Moxom John Moxom lithograph New Deal Gallery https://openvalley.org/files/original/539352c43bddec8962aa6841f17e2ae3.jpg 3c02020a1e9d41114e34b191d2c56203 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 2.3 MB Title A name given to the resource "Spanish Life" Mural Publisher An entity responsible for making the resource available San Francisco News Date A point or period of time associated with an event in the lifecycle of the resource 1939-04-01 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived "Design for School Mural," San Francisco News 1 April 1939: 8 Description An account of the resource A caption to this photo reads: "John Moxom, WPA Federal Art Project artist, is shown at work on the charcoal sketch for his mural, 'Spanish Life,' which will be placed in the Hillsborough Distriet School." According to Moxom, it was sixty feet wide, painted directly on the wall in oil paint; its subject was "early Spanish explorers in California. Native arts, Indian women weaving" (McChesney). The mural's current status is unknown, although the artist jokingly hoped "they've darkened considerably." About the Artist John (“Jack”) Swanston Moxom was born in Calgary, Alberta, immigrating with his family to San Francisco in 1925. He lived in the Bay Area the rest of his life. Moxom studied at the California School of Fine Art, then received his first commission through the FAP for a sculpture at the Sarah B. Cooper Memorial, Golden Gate Park. His subject matter of a young girl with a cat and a squirrel at her feet seemed appropriate to honor the educational reformer. Moxom later recalled, however, that his inexperience led him to choose a variety of sandstone that was beautifully flesh-colored but “darkened to a bloody red when the water hit it” (McChesney). Moxom’s main artistic contributions to the FAP took the form of murals at what was then called the San Francisco Teachers College (now SF State). Over two years, he created an estimated 10-15 separate murals ranging from a 12’ x 9’ work for a childrens’ library, to various works integrated into a building’s architecture (“Frederic Burk”). Eventually the murals were painted over, until a 2015 restoration project converted 55 Laguna Street into affordable senior housing for the LGBTQ+ community. Moxom also worked at the Hillsborough District School to create a 60 ft. painted mural for its auditorium, depicting the conquistador Juan Bautista De Anza encountering a variety of Native Arts (McChesney; SF Art Ass’n). In later years Moxom studied with the Italian painter Giorgio de Chirico, but he always credited the FAP’s support for young artists: “...some place for a studio, some facilities to make a beginning, some nucleus would permit the painter to live on a restricted budget....It's deadly, competition. Partly because most of us would always lose and those who win might not be the best ones. I mean, God himself couldn't tell what the results are going to be before we've begun” (McChesney). 2 works at the <a href="https://www.philamuseum.org/collection?artist=John%20%28Jack%29%20Moxom" target="_blank" rel="noopener">Philadelphia Museum of Art</a>. 1 work at <a href="https://dia.org/collection/verna/55078" target="_blank" rel="noopener">Detroit Museum of Art</a>. 1 work at the <a href="https://www.annexgalleries.com/inventory/detail/AFAE138/John-S-Moxom/Sonia--WPA" target="_blank" rel="noopener">Annex Galleries</a>. 1 work at <a href="https://www.nga.gov/artworks/144127-liberation">National Gallery of Art</a>. 3 images at <a href="https://art.gsa.gov/people/2035/john-s-moxom/objects" target="_blank" rel="noopener">GSA</a>. Works  Consulted: Mary Fuller McChesney, “Oral History Interview with Hebe Daum Stackpole and Jack Moxom,” 9 Jan. 1965, Archives of American Art New Deal and the Arts Project <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-hebe-daum-stackpole-and-jack-moxom-12293" target="_blank" rel="noopener">Link</a>; San Francisco Art Association Bulletin 5.9 (April 1939): 2 <a href="https://archive.org/details/casfai_000061/page/n1/mode/1up" target="_blank" rel="noopener">Link</a>; Shelley Caltagirone, Historic Preservation Commission Review of 55 Laguna Street 10 Dec. 2015 <a href="https://commissions.sfplanning.org/hpcpackets/2004.0773E_2012.0033E.pdf" target="_blank" rel="noopener">Link</a>; “Frederic Burk School Notes,” Golden Gator 31 Mar. 1936: 4 <a href="https://archive.org/details/casfuahc_000808/page/3/mode/1up" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Unknown Federal Art Project Jack Moxom John Moxom Mural 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/a8d18e7e1df511ad7131d865302d7316.jpg af437d8d7232ba09b990a29d58a960ee https://openvalley.org/files/original/b773cce6db278250a16a9fa22261c394.jpg 0b859fb88fbf8b766535bcba51e42a39 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 painting Physical Dimensions The actual physical size of the original image Canvas: 30 1/8 x 24 in. Frame: 36 5/8 x 30 3/4 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 941 KB Title A name given to the resource Snowy Landscape Creator An entity primarily responsible for making the resource Henry, Charles Trumbo (1917 - 1981) 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 1938 Contributor An entity responsible for making contributions to the resource Copolla, Victoria (description and biography) Cooper, Ken (biography) Helquist, Morgan (photography) Source A related resource from which the described resource is derived New Deal Gallery, Mount Morris NY Object #FA 20641 Type The nature or genre of the resource Still image Description An account of the resource Snowy Landscape depicts farm buildings located in a mountain valley, their grays and reds deeply saturated to attract the viewer's eye. The structures are perhaps slightly simplified, some lacking windows or even doors, and none seems to be the living quarters. (Compare this to Henry’s strikingly similar <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-38" target="_blank" rel="noopener">Valley Farm</a> [1940] to appreciate the decisions informing this earlier painting.) Henry’s work compels emotion in his audience with the adopted color scheme: besides these snug buildings, the sky’s color has blue tones that do not indicate turbulence but rather a sense of calm. Because the work was produced amid national apprehension, Henry’s rendering of a cold scene implies a certain perseverance needed by the nation through this troubling time. Henry creates depth with the use of rolling hills, fences dividing pastures, and trees in the background behind the house. The foreground’s use of a fence adds even more depth but also a sense of privacy. A subtle use of brown creates contours to the snow; even Henry’s signature follows one such line. Although not created for any specific exhibition location, Snowy Landscape evokes a sense of comfort and connection to nature—especially when compared to the extreme drought and rural bankruptcies across most of 1930s America. This farm scene would have reminded its viewers of home, whether topographically or temporally: a world they’d want to inhabit. About the Artist Charles Trumbo Henry was born in Niagara Falls, NY in 1902. He grew up in Missouri and studied art at the Missouri State Teachers College (today, Truman State University) and the Kansas City Art Institute. Henry moved to New York in the late 1920s to study at the Art Students League, an organization with which he maintained a long connection and leadership role. He was a painter known for his colorful depictions of American landscapes, informed by a regionalist sensibility. “Young painters in New York are going back to their homes in the middle west to paint the country they know,” he wrote in 1933 (“Charles Henry Exhibits”). Henry was employed first by the Public Works of Art Project and then the Federal Art Project, spanning the years 1935 to 1943. He exhibited works in the Whitney Museum in New York City, the Pennsylvania Academy of Fine Arts, National Academy of Design, and the Carnegie Institute, among other venues. In 1937 Henry was selected to create <a href="https://americanart.si.edu/artwork/aspects-american-industrial-scene-mural-study-us-department-labor-washington-dc-35919" target="_blank" rel="noopener">a mural</a> for the Department of Labor in Washington, D.C., featuring construction of the Triborough Bridge at Hell Gate.  A year later, he was selected for a project that became <a href="https://americanart.si.edu/artwork/landscape-mural-study-cornelia-georgia-post-office-10307" target="_blank" rel="noopener">a mural</a> located in the U.S. post office in Cornelia, GA. That led to an unusual nine-month assignment at the federal penitentiary in Atlanta, where he taught art workshops, developed a vocational program, and even consulted on the paint colors for various rooms (“Charles Henry on New Art Projects”). After WWII Henry and his family moved to Los Angeles, where he continued to paint but of economic necessity also became lead fundraiser for a cancer not-for-profit (“Sunday’s Painter”). One review of a 1949 solo show in New York suggested that “Henry keeps his colors low in key, and his delicate gift of factual observation never fails him when the object being looked at is at close hand” (S.P.). 2 works at <a href="https://americanart.si.edu/artist/charles-trumbo-henry-2174" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-10-folder-38" target="_blank" rel="noopener">FAP</a>. Works Consulted: “Charles Henry Exhibits Work in New York,” Kirksville Daily Express 27 Aug. 1933: 4; “Charles Henry on New Art Projects,” Kirksville Daily Express 7 Feb. 1939; “Sunday’s Painter One-Man Show Depicts Landscapes,” Los Angeles Daily News 27 Jan. 1951: 4; S.P., “2 One-Man Shows Mark Art Scene,” New York Times 24 June 1949: 21 <a href="https://nyti.ms/4xdbvIk" target="_blank" rel="noopener">Link</a> Charles Trumbo Henry Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/3ef9af4305c5d0cdc6ebf39e17d223ed.jpg 783edc212fc58bca09124501385bdb41 https://openvalley.org/files/original/58a44db4d64afb64c547525fe5fa07b6.jpg 4e1e835f7611a5bc883a7bc9f6fa92cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Woodcut on paper Physical Dimensions The actual physical size of the original image Image 6 1/2 x 8 1/2 in. Framed: 15 x 18 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 Dangerous Crossing Format The file format, physical medium, or dimensions of the resource jpeg, 1.6 MB jpeg, 644 KB Description An account of the resource Abramovitz's woodcut print creates a heavy contrast thanks to it monochrome color scheme. Every etch in this engraving appears to be done with the same tool: fine, intricate lines create every form, figure, and detail in the piece. This approach to engraving gives the print a sketch-like appearance. The background confirms that the setting of this work is placed in a city, with tall buildings and shops taking up the middle ground and background. The focal point of the work is a woman who is crossing the city street--she is walking away from the viewer while simultaneously looking back at us, her head turned and face bearing an expression of wariness. The woman has two children with her, both of whom also look at the viewer: one older child who is holding her hand, and an infant who she is carrying under her arm. Behind them, there is another female figure, but the etching done on her is less intricate than the figures in the foreground, and thus her facial features are impossible to make out. The image feels tense, and for good reason: This image portrays the uncertainty and stress of raising children during the Great Depression, not simply crossing a street. It is a mother’s duty to protect her children, and the woman we see in this painting is doing just that. She appears on edge, with her body language positioned to seem as if she is protecting her children. The scene shows that mothers, even in the face of economic collapse, had the responsibility of both caring for and protecting their children from the adversity of the time. About the Artist Albert Abramovitz was an American painter and printmaker known for his expressive woodcuts and socially conscious imagery. He was born in Riga, Latvia, to a Jewish family. Abramovitz received early artistic training in Odessa before continuing his studies in Paris at the Académie de la Grande Chaumière. During his time in Europe, he gained recognition by exhibiting at major salons, and he would win the Grand Prize at the 1911 Universal Exposition. He later joined the jury of the Salon d’Automne in 1913. In 1916, Abramovitz immigrated to the United States, where he spent the remainder of his career. He held his first solo exhibition in Manhattan, in 1921, and later lived in Los Angeles before returning to Brooklyn. He produced prints that reflected political and social realities that were topical. An early reviewer wrote of his painting that, “though varied in subject, it is animated by a single high ideal—the earnest search for a higher truth than dwells on the surface of things” (Anderson). His work became more closely associated with the social and economic struggles of the early 20th century, particularly during the Great Depression. Abramovitz worked for the Federal Art Project during this time, specifically under the Graphic Arts Division, creating prints that were social commentaries on the state of the world. Through wood engravings and linocuts, he depicted unemployment, urban hardship, and everyday life, often emphasizing themes of poverty and resilience. His works were often praised for their subtle theming, and at the time, he was considered a master at his craft due to this, as well as for his skill in creating engravings with such fine detailing. His art frequently carried strong emotional and symbolic elements, sometimes addressing disaster, human suffering, and adversity. Abramovitz died in 1963 in New York. Today, he is remembered as an important figure in American printmaking, particularly for his ability to combine technical precision with powerful social commentary. 65 works at <a href="https://art.gsa.gov/artists/794/albert-abramovitz/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 23 works at <a href="https://brierhillgallery.com/albert-abramovitz-" target="_blank" rel="noopener">Brier Hill Gallery</a>. 21 works at <a href="https://www.metmuseum.org/art/collection/search?q=Albert+Abramovitz" target="_blank" rel="noopener">The Metropolitan Museum of Art</a>. 10 works at <a href="https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Albert+Abramovitz" target="_blank" rel="noopener">Victoria and Albert Museum</a>. 8 works at the <a href="https://www.nga.gov/artists/33107-albert-abramovitz" target="_blank" rel="noopener">National Gallery of Art</a>.6 works at <a href="https://www.annexgalleries.com/artists/biography/2641/Abramovitz/Albert" target="_blank" rel="noopener">The Annex Galleries</a>. 2 works at <a href="https://americanart.si.edu/artist/albert-abramovitz-11" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="https://spencerart.ku.edu/art/collections-online/artist/15400" target="_blank" rel="noopener">Spencer Museum of Art</a>. 1 work at <a href="https://benuri.org/artists/38-albert-abramovitz/works/" target="_blank" rel="noopener">Ben Uri Gallery and Museum</a>. 4 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-5" target="_blank" rel="noopener">FAP</a>. 6 images at <a href="https://art.gsa.gov/people/794/albert-abramovitz/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: Who Was Who in American Art, ed. Peter Falk (1985) <a href="https://archive.org/details/sim_los-angeles-times_the-los-angeles-times_1925-12-06/page/43/mode/1up?q=%22albert+abramovitz%22" target="_blank" rel="noopener">Link</a>; Annex Galleries, “Albert Abramovitz” <a href="https://www.annexgalleries.com/artists/biography/2641/Abramovitz/Albert" target="_blank" rel="noopener">Link</a>; Antony Anderson, “Albert Abramovitz in Varied Exhibit” (Los Angeles Times 6 Dec. 1925: 43) <a href="https://archive.org/details/sim_los-angeles-times_the-los-angeles-times_1925-12-06/page/43/mode/1up?q=%22albert+abramovitz%22" target="_blank" rel="noopener">Link</a> Creator An entity primarily responsible for making the resource Abramovitz, Albert (1879 - 1963) 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 Contributor An entity responsible for making contributions to the resource Papapietro, Isabella (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 1066 Type The nature or genre of the resource Still image Albert Abramovitz Federal Art Project New Deal Gallery woodcut https://openvalley.org/files/original/ba61e9c6eb4299857c1d425293ca1003.jpg a6634793498005c3921434522819a54d Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Digital photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gapstow Bridge, Central Park Creator An entity primarily responsible for making the resource Gobetz, Wally Date A point or period of time associated with an event in the lifecycle of the resource 2007-03-03 Source A related resource from which the described resource is derived <a href="https://flic.kr/p/CjacE" target="_blank" rel="noopener">Via Flickr</a> CC BY-NC-ND 2.0 Format The file format, physical medium, or dimensions of the resource jpeg, 909 KB Description An account of the resource Situated at the northeast end of the pond in Central Park, the Gapstow Bridge was envsioned as part of Frederick Law Olmsted and Calvert Vaux's network of trails, tunnels, and bridges--both functional and aesthetically pleasing. This one was constructed in 1874 using a more elaborate wood and wrought iron design that did not age well; the current stone bridge was constructed in 1896. This photograph is in OpenValley to approximate the location of New Deal artist Bruce Nelson, whose painting <a href="https://openvalley.org/items/show/2171" target="_blank" rel="noopener">The Ridge</a> (c. 1935) creates an idyllic spring setting where New York's modernist skyline and the park's artful nature are in pleasing balance. Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image Bruce Nelson Central Park Gapstow Bridge https://openvalley.org/files/original/97c052588cb8f8c4e13c728d55aad26d.jpg f175d6b4a5c3a8b66d141caf84c6b34e https://openvalley.org/files/original/138b6fd7c4ab95e189b1694abfe273c2.jpg fa3643a648e91e3cfd7648df38d396f7 https://openvalley.org/files/original/0bc137138a58f46007d7e7ebae320b0c.jpg 9ad3fa934c865a33a14d17ed19753809 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as photograph, map, drawing, painting, etc., and any additional data Newspaper advertisement Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource For a Carefree Vacation, Keep in Touch by Telephone Format The file format, physical medium, or dimensions of the resource jpeg, 2 MB jpeg, 1.8 MB jpeg, 1.7 MB Source A related resource from which the described resource is derived New York Daily News 5 Aug 1940: 56 New York Daily News 13 Aug 1940: 73 New York Daily News 19 Aug 1940: 175 Description An account of the resource During the 1920s-30s, telephone service developed from a luxury facilitated by telephone operators, to a self-dialed consumer necessity. Or so the phone companies suggested. This series of three advertisements from 1940 envisions humorously disastrous fears as to what's happening back home, when an individual is on vacation. The New York Telephone Company lists several vacation spots from which to check up on a slumming husband or malingering employees. Using inflation-adjusted figures, however, a 3-minute phone call from Lake Placied to New York--on an evening or weekend--translates into more than $15.  The illustrations are of interest because they were created by Federal Art Project painter Stephen R. Ronay, whose work <a href="https://openvalley.org/items/show/2096" target="_blank" rel="noopener">The Life Boat</a> is held by the New Deal Gallery in Mount Morris, NY. While that work is more serious in tone, it shares with much of Ronay's output from this period an interest in vibrant, chaotic scenes involving many people and actions--somewhat in the manner of William Hogarth. Creator An entity primarily responsible for making the resource Ronay, Stephen R[obert], 1900 - 1983 Publisher An entity responsible for making the resource available New York Telephone Company Date A point or period of time associated with an event in the lifecycle of the resource 1940-08-05 1940-08-13 1940-08-19 Contributor An entity responsible for making contributions to the resource Cooper, Ken Type The nature or genre of the resource Still image advertisement Cartoon New York Telephone Stephen Ronay telephone https://openvalley.org/files/original/f5c730ae380fad6bcb3c5641a9bf7cc6.jpg f90b23e5f98e1d3f3223ac2ae251061b 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 Lithograph on paper Physical Dimensions The actual physical size of the original image Image: 9 1/2 x 12 in. Frame: 15 x 18 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 News Description An account of the resource A man and a woman are peering at a newspaper. The woman stands behind the seated man as she softly holds his shoulder; by comparison, he grips the newspaper tightly. The print is a high-contrast black-and-white charcoal portrait that uses value and shading to create naturalistic shapes. Anchel creates texture in his piece by changing the direction and pattern of his lines—for example, modeling the shape of a shoulder. The newspaper is extremely bright and stands in star stark contrast to most of the print, making the man appear gloomier and darker. The source of the light could have been coming from a dim floor lamp based on its shadow.  We can infer that Anchel sought to convey intense emotion and deep concern from what is learned in the daily newspaper, probably a common experience during the Great Depression: it was a time when people truly never knew what was coming next.  Another thing to notice is the expression on the couple’s faces, and the way the man’s eyebrows curl in disbelief with a slight frown. The woman also seems distressed, yet calmer, offering support to the man with a kind, soft hand on his shoulder, firm yet comforting. She may be looking at him instead of the page. This body language can be seen as a nod to how women were expected to stay calm and offer emotional support to men, regardless of their own anxieties. Anchel’s print was extremely emotional for its time, acknowledging fears beneath New Deal optimism. About the Artist Anchel Harold Rosenberg was born in 1912 on the lower east side of Manhattan, New York City. He was artistic from a young age, creating many pieces for his mother as a teenager before attending the National Academy of Design, 1930-32. Anchel joined the innovative <a href="https://www.americandanceguild.org/ndghistory" target="_blank" rel="noopener">New Dance Group</a> in 1932, founded by six Jewish women whose motto became “Dance is a Weapon of the Class Struggle.” He performed in pieces with titles like On the Barricade and Hunger. Anchel joined the WPA in 1937, forced to drop his last name and switch the others since only two family members could apply: thereafter, he was Harold Anchel. He joined as one of the youngest employees at the FAP’s Graphic Arts Division, developing a dramatically composed, high-contrast style for depicting ordinary people in works like “Cafeteria”, “City Playground” and “Summer Afternoon.” His background in dance made him especially sensitive to the power of physical gesture. Anchel also executed at least one work for the FAP’s Index of American Design, entitled “Hitching Post.” In 1943, Anchel was drafted for the Second World War, assigned to paint insignias on buildings and planes. He was later relocated to Walterboro, SC where he utilized puppets to teach camouflage techniques. After WWII his style transformed from stark, black-and-white lithographs to<a href="https://david-anchel.format.com/5754895-40-s-and-50-s-paintings" target="_blank" rel="noopener"> abstract paintings</a>. Anchel’s works were exhibited in the Miami Museum of Modern Art, the Metropolitan Museum of Modern Art and the Riverside Museum in New York throughout the 1960’s. Anchel passed in 1980. 63 works at <a href="https://art.gsa.gov/artists/824/harold-anchel/objects" target="_blank" rel="noopener">GSA Fine Arts Collection</a>. 17 works at <a href="https://www.metmuseum.org/art/collection/search?q=Harold+Anchel&searchField=ArtistCulture" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 2 works at <a href="https://americanart.si.edu/artist/harold-anchel-89" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 6 images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-25" target="_blank" rel="noopener">FAP</a>. 12 images at <a href="https://art.gsa.gov/people/824/harold-anchel/objects" target="_blank" rel="noopener">GSA</a>. Works Consulted: “Also Anchel Abstracts: Neijna Sculpture Exhibit Opening” Miami Herald 8 Nov. 1959: 121. A special thank you to David Anchel for his website <a href="https://david-anchel.format.com/homepage-gallery" target="_blank" rel="noopener">The Art of Harold Anchel</a>. Creator An entity primarily responsible for making the resource Anchel, Harold (1912-1980) Format The file format, physical medium, or dimensions of the resource jpeg, 1.8 MB 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 c. 1935 Contributor An entity responsible for making contributions to the resource Drexler, Nora (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 276 Type The nature or genre of the resource Still image Federal Art Project Great Depression Harold Anchel lithograph New Deal Gallery