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https://openvalley.org/files/original/ce3f159b180319e78b9549bd4a115a80.JPG
a22fcbdd2514481c9b6cb45c252a9c24
https://openvalley.org/files/original/06ef8967425b13f9e69bdaf6450bbfc4.JPG
24c397abaed2020f2fb7de6e40e50dd4
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." <br /><br />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.<br /><br />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
Watercolor painting
Physical Dimensions
The actual physical size of the original image
15 x 21.75 in.
Condition: paper buckling, 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
Easter Lilies
Description
An account of the resource
We behold five white Easter lilies in a glass jug on a red tablecloth. The background is beige, but Spinchorn has dabbed in hints of red, purple, and orange. The lilies and their jug fully fill out the canvas, leaving little negative space. The background beige ends where the lilies begin; whites and highlights remain untouched to leave the white canvas shining through the watercolor. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Broby, Sweden, Sprinchorn traveled to the US in 1903 at age sixteen to study with <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art, continuing his study through 1907. An early exhibition at the Union League in 1908 made a deep impression upon one critic, who called “Winter Day” and its ferryboat on the East River an image “we shall never forget—the dreariest, wettest canvas we ever saw, and therein is its power...It is realism pushed to the eleventh degree” (“Around”). After a period managing the Henri Art School, Sprinchorn taught at the Art Students League in Los Angeles and then traveled to Paris before returning to the New York art scene. His work appeared in the famous <a href="https://openlibrary.org/books/OL22877785M/Catalogue_of_international_exhibition_of_modern_art" target="_blank" rel="noopener">Armory Show of 1913</a>, at the 1914 World’s Fair, and numerous group and solo shows. “But in 1919,” Sprinchorn later wrote, “chance brought me to the Maine woods,” and it is for his paintings of rural life there that he is perhaps best known, first during the 1920s and then periodically between 1937 and 1952. Against this desire to grow as an artist were what Sprinchorn termed “almost continuous economic sieges,” and Sprinchorn’s abilities as an administrator—which resulted in his working as director of the New Gallery for a period. His work was respected by contemporaries like Robert Henri, Marsden Hartley, and the <em>avant-garde</em> <a href="http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/stetthe1.html" target="_blank" rel="noopener">Stettheimer sisters</a>, and has grown in reputation since then. 11 works at the <a href="http://collections.portlandmuseum.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Portland Museum of Art</a>. 4 works at the <a href="https://collection.farnsworthmuseum.org/objects?query=sprinchorn" target="_blank" rel="noopener">Farnsworth Museum of Art</a>. 8 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/1253/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 3 works at the <a href="http://magart.rochester.edu/4DACTION/HANDLECGI/CTN3?display=POR" target="_blank" rel="noopener">Memorial Art Gallery</a>. 1 work at the <a href="https://americanart.si.edu/artist/carl-sprinchorn-4583" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 16 works at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-38" target="_blank" rel="noopener">FAP</a>.
<p><u>Works Consulted</u>: “Around the Galleries,” <em>New York Sun</em> 14 Jan. 1908: 6; Chris Huntington/Charlotte McGill, <em><a href="https://www.sprinchorn.com/index.html" target="_blank" rel="noopener">Carl Springchorn Admiration Society</a></em></p>
<span style="text-decoration: underline;"></span>
Creator
An entity primarily responsible for making the resource
Sprinchorn, Carl, 1887-1971
Publisher
An entity responsible for making the resource available
Federal Art Project
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Vanamee, Nicholas (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 #FA18273
Format
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jpeg, 1.3 MB
jpeg, 6.5 MB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
180
Carl Sprinchorn
Depression-Era Art
Easter Lilies
Federal Art Project
New Deal Gallery