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var str = 'A beehive, traditional symbol of industry and an orderly community, organizes four images of farming around its center. In clockwise order from the top, we see the arts of landscaping and decorative gardening; a barnyard with various farm animals including a dairy cow at rear; a farmhouse with fields being plowed and seeded with grains; and a group of fruit-pickers in an orchard. All are depicted as facets of a modern, integrated farm. But decorative images--sheaves of wheat, barrels of cider, vegetables, hand tools--also seem to be updating an older symbol of cornucopia. It was an ideal few real-life farms could realistically attain.';
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Wade (artist?)
F.W. O'Neill (author)
H.L. Williams (author)
F.W. O'Neill and H.L. Williams, The<em> American Farmer's Hand-Book</em> (New York: R.Worthington, 1880): 22.<br /><br /><a href="https://archive.org/details/americanfarmersh00onei/page/n33/mode/1up">Courtesy of Internet Archive</a>
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var str = 'During the 19th century it was estimated that the Black River generated some 135,000 horsepower along its course during the dry season. Just within the city limits of Watertown, NY the river dropped 110 feet, meaning that manufacturing concerns generally drove planning decisions. The suspension bridge pictured here, overlooking the picturesque Black River Falls, probably was intended for functional purposes .';
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Durant, Samuel W., and Henry B. Peirce, <em>History of Jefferson County, New York : With Illustrations and Biographical Sketches of Some of its Prominent Men and Pioneers </em>(L. H. Everts, 1878): frontispiece. <a href="https://archive.org/details/historyofjeffers00dura_0/page/n8">Web version available at Internet Archive.</a>
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We see a dock or port building with two ships moored. Jones uses ink sparingly, but cross-hatches aggressively to convey the dark paint of the dock and shadows on the water. For lighter objects, he implies more than illustrates shape through his clear mastery of weight and shadow—the water, the sky, and the grass are left as negative space—upon blank white paper, with only a few lines scattered to imply shape and texture. The mountains at the edge of the canvas, too, lose definition and shape, vanishing into loose lines towards the left, but remain stark as they fade out of view within frame. The dock building itself commands attention at the center of the canvas, it’s entrance face rounding out the right side of the composition, its dark shading balancing out the stark white of the smaller ship and the water. The contrast of the water, mountains, and dock is surprisingly uniform across the canvas, as Jones masterfully balances positive and negative space—he leaves enough blank to not let ink dominate the canvas. A note about the painting: for at least twenty-five years this etching has been listed as missing; it was re-located in April 2019. It probably depicts the <a href="https://portjeff.com/wp-content/gallery/business-historical-photos/2011-8-94.jpg" target="_blank" rel="noopener">Suwasset Oyster Company</a> in Port Jefferson, NY, which was destroyed by winter storms in 1934.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener"><em>Monkey Shines</em></a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. He lived for many years in Port Jefferson, NY. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 work at the <a href="https://www.mfa.org/collections/search?search_api_views_fulltext=leon+foster+jones&title=&culture=&artist=&creditline=&accession=&provenance=&medium=" target="_blank" rel="noopener">Museum of Fine Arts, Boston</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>.
Jones, Leon Foster, 1871-1940
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One of several prints Ximenez created for the Associated American Artists gallery in New York, this artfully composed scene manages to fit several elements of Mexican culture into its frame. Upon cobblestone streets and against the wall of a building, a heavy wagon with wooden wheels carries a bundle of wood. It is pulled by two mottled oxen, driven by a man wearing a serape and sombrero. Although the serape’s bold design catches the eye, it’s only one of several patterns gathered here.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Mexico, Ximenez studied at the Bellas Artes while supporting himself as a commercial artist. He immigrated to the US in 1923 and married the daughter of famous concert pianist Maria Carreras two years later. For a brief time Ximenez was the subject of tabloid fascination after her parents, he charged, tricked her into traveling to the US so as to marry a wealthier America (Davis). In 1930 he was working as a cartoonist in New York, then shortly after that must have moved west to pursue employment. As of 1935, Ximenez had been working four years as an animator in the Hollywood studio of <a href="https://en.wikipedia.org/wiki/Fleischer_Studios" target="_blank" rel="noopener">Max Fleischer</a> and was exploring the establishment of his own in Mexico (<em>Motion Picture Daily</em> 7 Aug. 1935: 10). Apparently this did not work out, because he exhibited his FAP-sponsored work was exhibited at the Brooklyn Academy of Music (1936) and an Associated American Artists traveling show during 1937. 4 more works at the <a href="https://www.nga.gov/collection/artist-info.34152.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 more work at the <a href="https://art.famsf.org/alfredo-ximenez/fruit-vendor-m%C3%A9xico-19633024789" target="_blank" rel="noopener">Fine Art Museums of San Francisco</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-32" target="_blank" rel="noopener">FAP</a>.<br /><u><br />Sources Consulted</u>: Forrest Davis, “Parents Stole Bride, Says Artist” (New York <em>Daily News</em> 13 April 1928: 514).
Ximenez, Alfredo, 1903-2000?
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An alert jay sits upon a tree branch in the foreground, with billow of leaves or some other foliage in the midground. In the distance, we see the turret of a large building. Nakamizo’s decision to render this scene as an engraving turns it into a study of patterns, both upon the bird and in its habitat. At lower left is text indicating it was created for the Federal Art Project.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Fukuiken, 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 <em>East Way, West Way: A Modern Japanese Girlhood</em>. 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>.<br />
<p><br /><span style="text-decoration: underline;">Sources consulted</span>: Jean Piper, “Scientist Acts Like Human Dynamo,” <em>Brooklyn Daily Eagle</em> 6 Mar. 1927: 85; Ellen G. Landau, <a href="https://archive.org/details/artistsforvictor00land/page/84?q=Nakamizo" target="_blank" rel="noopener"><em>Artists for Victory: An Exhibition Catalog</em></a> (Library of Congress, 1983).</p>
Nakamizo, Fuji, 1889-1950
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<p>A faceless laborer lifts what appears to be bales of cotton--presumably one of many for New York's textile and garment industries. The etching's dark, cross-hatched interior contrasts with a view of docks, tugboat, and buildings seen through the doorwary. The anonymous toil depicted here would have been paralleled by sharecroppers in the South, although a market crash there preciptated a "great migration" north.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Beijing, China, Grambs was the granddaughter of a Baptist missionary and daughter of what she later termed an “exploitive businessman”; she grew up in Tian-Jing but felt isolated because Europeans didn’t interact with the Chinese. In 1934, she received an Art Students League scholarship that enabled her to emigrate to New York. She was greatly influenced by <a href="https://en.wikipedia.org/wiki/Harry_Sternberg" target="_blank" rel="noopener">Harry Sternberg’s</a> printmaking class—how the medium enabled direct confrontation with social injustices—and was active in several Popular Front organizations. As James Wechsler writes, Grambs’ work in printmaking coincided with government support for progressive artists: “Through the FAP, art became an integral part of the New Deal’s objective of treating the intangible symptoms of a demoralized nation...giving visual from to what President Roosevelt called the ‘nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance’” (383-384). Her NDG print “Warehouse, East River” appeared in a 1936 WPA show at the Brooklyn Academy of Music, one of 25 lithographs that she produced for the federal program. <br /><br />Grambs was deeply involved with the Artists’ Union and its efforts to preserve public funding for the arts amidst conservative reaction. In 1936, her former teacher Sternberg arranged for a group of artists to visit the minefields of Pennsylvania; many of her most powerful prints date to this period, showing the intersectionality of labor and ecological exploitation. She relocated to Europe briefly in 1939 but returned via a harrowing journey as borders closed. Grambs never worked in printmaking again, making her living initially as an illustrator for <em>Woman’s Day </em>magazine and eventually for more than 30 children’s books (sometimes under the name Grambs Miller). Many of these books evoked an affirmative vision of nature (a far cry from the Pennsylvania coal fields) that was perhaps influenced by Rachel Carson and an emergent environmental movment: <span><em><a href="https://archive.org/details/hummingbirdsinga00gans?q=%22grambs+miller%22" target="_blank" rel="noopener">Hummingbirds in the Garden</a></em></span> (1969) <span><em><a href="https://archive.org/details/mushroomsmolds00from?q=%22grambs+miller%22" target="_blank" rel="noopener">Mushrooms and Molds</a></em></span> (1972); <span><em><a href="https://archive.org/details/younggrizzly00corc?q=%22grambs+miller%22" target="_blank" rel="noopener">The Young Grizzly</a></em></span>; <span><em><a href="https://archive.org/details/plantfun00anit?q=%22grambs+miller%22" target="_blank" rel="noopener">Plant Fun</a></em></span> (1974); and <span><em><a href="https://archive.org/details/rootsarefoodfind00bran?q=%22grambs+miller%22" target="_blank" rel="noopener">Roots are Food Finders</a></em></span> (1975). 15 works at <span><a href="https://www.nga.gov/collection/artist-info.25832.html" target="_blank" rel="noopener">National Gallery of Art.</a></span> 8 works at <span><a href="https://americanart.si.edu/artist/blanche-grambs-1899" target="_blank" rel="noopener">Smithsonian American Art Museum.</a></span> 16 works at <span><a href="https://www.metmuseum.org/search-results#!/search?q=grambs" target="_blank" rel="noopener">Metropolitan Museum of Art.</a></span> 9 works at the <span><a href="https://www.newarkmuseum.org/search-our-collection" target="_blank" rel="noopener">Newark Museum</a></span>. 4 more images at <span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-9-folder-20" target="_blank" rel="noopener">FAP</a></span>.</p>
Sources consulted: James Wechsler, “The Great Depression and the Prints of Blanche Grambs,” <em>Print Quarterly</em> 13.4 (Dec. 1996): 376-396.
Grambs, Blanche Mary, 1916-2010
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