1
10
11
-
https://openvalley.org/files/original/37ed583b442f4ea60d1dade4f9723ffe.jpg
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https://openvalley.org/files/original/3f27e28f2acd26ebb0ac0df95470fe0a.jpg
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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/.
Title
A name given to the resource
John Eugene Harmon World War I Photograph
Description
An account of the resource
This is a photograph of John Eugene Harmon in his uniform, upon returning home from military service during World War I. A member of Company C, Sixth Engineers, he had been wounded during the Battle of Amiens in 1918 and recovered in France. Back home at the family's O-Ka-lee farm, he is saluting the camera, with fenced cows in the background.
Date
A point or period of time associated with an event in the lifecycle of the resource
1919-04-04
Contributor
An entity responsible for making contributions to the resource
DiPreta, Ariana
Source
A related resource from which the described resource is derived
Harmon Family Collection, Big Springs Historical Society, Caledonia, NY
Format
The file format, physical medium, or dimensions of the resource
jpeg, 545 KB
jpeg, 498 KB
Creator
An entity primarily responsible for making the resource
Unknown photographer
Caledonia, NY
Farm
Harmon Family
John Eugene Harmon
O-Ka-lee Farm
World War I
-
https://openvalley.org/files/original/b149174efb31f0cd1d873afcaf3ee204.jpg
b9ec5f006110c123ac488f9d7bc7b712
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
Oil on Canvas
Physical Dimensions
The actual physical size of the original image
29.5 x 23.5 in
Condition: surface dirt, dent left corner
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
Summer Landscape
Description
An account of the resource
Baumbach’s work depicts a summer landscape in what appears to be a rural farm town from an aerial view. The colors are bright, and cool tone variations of green dominate much of the space. The greens are contrasted by a blue waterway and a yellow field which stretch across the center of the painting, and by several red building structures that sit at the bottom. Rolling hills stretch back into the horizon. Despite the wide view, there is much attention to detail and the painting also features roads, animals, crops, and fences.<br /><br />
<p><span style="text-decoration: underline;">About the Artist:</span> Born on New York’s Lower East Side, Baumbach was the son of an upholsterer and largely a self-taught painter. His original emphasis was upon upstate landscapes; later, he moved on to increasing abstraction in his work, influenced perhaps by his friends <a href="https://en.wikipedia.org/wiki/Mark_Rothko" target="_blank" rel="noopener">Mark Rothko</a> and <a href="https://en.wikipedia.org/wiki/Adolph_Gottlieb" target="_blank" rel="noopener">Adolph Gottlieb</a>, but always with his own distinct style. Baumbach was among the founders of the radical journal <a href="https://www.aaa.si.edu/collections/art-front-5779" target="_blank" rel="noopener"><em>Art Front</em></a> (1934-1937), created as “a publication which speaks for the artist, battles for his economic security and guides him in his artistic efforts” (<em>Art Front 1.1</em> [Nov. 1934]: 2.) Later, his name would come up amidst investigations into “subversive organizations” by the House Un-American Activities Committee. After World War II Baumbach taught painting at Brooklyn College. Although highly regarded by fellow artists, popular success eluded him: “Strong willed, allergic to fashion, even to success, he persisted in going his own way, refusing to sell to prospective buyers he thought did not admire the work properly and breaking off relations with galleries usually after only a show or two” (<em><a href="https://www.nytimes.com/2002/01/04/arts/harold-baumbach-98-a-painter-who-explored-color-and-space.html" target="_blank" rel="noopener">New York Times 4 Jan. 2002</a></em>). He was the father of writer Jonathan Baumbach and grandfather of film director Noah Baumbach. 1 work at the <a href="http://collection.whitney.org/artist/73/HaroldBaumbach" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://hirshhorn.si.edu/search-results/search-result-details/?edan_search_value=hmsg_66.400" target="_blank" rel="noopener">Hirshorn Museum</a>. 2 works at the <a href="https://library.brooklyn.cuny.edu/library/art/index.php?view=single&item_id=68&image_id=56" target="_blank" rel="noopener">Brooklyn College Library</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-18" target="_blank" rel="noopener">FAP</a>.</p>
Creator
An entity primarily responsible for making the resource
Baumbach, Harold, 1903-2002
Publisher
An entity responsible for making the resource available
Federal Art Project
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Schmeer, Samantha (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 Number: FA18114
Format
The file format, physical medium, or dimensions of the resource
jpeg, 883 KB
Type
The nature or genre of the resource
Still Image
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Identifier
An unambiguous reference to the resource within a given context
024
1930s
Farm
Federal Art Project
Harold Baumbach
landscape
New Deal Gallery
-
https://openvalley.org/files/original/6a2f6b1ce346144afa7d55a0c4ff0ed7.jpg
a97b2345d068220901db7a25c158f5c0
https://openvalley.org/files/original/494121908b330723a92be911f16b2c7b.JPG
de15ea9a7b22d6655afeaadc678a81b7
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
Physical Dimensions
The actual physical size of the original image
28.5 x 22 in.
Condition: paper yellowed
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
The Farm
Description
An account of the resource
This watercolor painting is a landscape of the quintessential farm in rural America. The most striking objects are the bright colored buildings that contrast with lighter-colored foliage and land. The composition is quite empty, a majority of the space being filled with the land and sky. The buildings are composed of basic shapes with sharp angles but the rest of the painting uses large brush strokes to create a landscape that appears to flow across the canvas. The vehicle that hides in the corner represents the change from traditional farming methods that clashed with the new innovations of the 1930s. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Like NDG artists Lucie Bayard and A.E. Cederquist, Cunning was a student of the famous artist-teacher <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the New York School of Art. He remained close to this circle of artists via the Whitney Studio Club, and several of his works were featured in Whitney Bienniels or museum collections: “Old Dock” (1927); “Sunset—New York Bay” (1932); “Roadside Market” (1934). His 1934 painting “Manhattan Skyline,” created for the Public Works of Art Program, is at <a href="https://americanart.si.edu/artwork/manhattan-skyline-6053" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at <a href="http://collection.whitney.org/object/2493" target="_blank" rel="noopener">Whitney Museum of American Art.</a> 2 works at the <a href="https://www.brooklynmuseum.org/opencollection/artists/3526/objects" target="_blank" rel="noopener">Brooklyn Museum</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-5-folder-23" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Cunning, John, 1889-1953
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)
Serbalik, John (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 #FA18139
Format
The file format, physical medium, or dimensions of the resource
jpeg, 833 KB
jpeg, 8.6 MB
Identifier
An unambiguous reference to the resource within a given context
049
Barn
Farm
Federal Art Project
John Cunning
landscape
New Deal Gallery
-
https://openvalley.org/files/original/3523317856f9f33fd8b2e2bad0660bf8.JPG
016fb79ed5296c4ab1917ad914972716
https://openvalley.org/files/original/f906a77aacd74102dbd61d5c8881bc3a.JPG
fce301011a5fbae1eb458b0e7bb78cfa
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
Oil painting
Physical Dimensions
The actual physical size of the original image
24 x 30 in.
Condition: stain in right corner
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
The Pasture Lot
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.2 MB
jpeg, 14.2 MB
Description
An account of the resource
Possibly inspired by a time spent farming in Massachusetts, Nesin’s painting radically flattens the landscape into a tapestry: sky and trees cascade down toward cows behind a fence at bottom. Somewhat abstracted forms give a pleasing roundness and regularity to nature. Nesin appears to set against this a few eccentric details, like a pair of boulders or a crooking fence rail, in the service of visual tension.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Krasilov, Russia (modern-day Ukraine), Nesin immgrated to the US in 1902 and received citizenship in 1911. He seems to have been trained as an engraver, although for a period during the 1930s worked as a farmer in Massachusetts with his brother Morris. He exhibited at the Federal Art Project Gallery (1936). Nesin’s painting “Sawing Wood for Winter” appears in a heartbreaking 1944 <a href="https://books.google.com/books?id=CFAEAAAAMBAJ&lpg=PA85&pg=PA85#v=onepage&q&f=false" target="_blank" rel="noopener"><em>Life </em>magazine story</a> on the decision by Colonel Brehon Somervell, the New York WPA administrator, to sell off completed canvases by the pound to a junk dealer. Throughout all these years—and until the end of his life—Nesin was a passionate debater of political issues. As a member of the Socialist Party, he advocated for old age pensions and against conscription during the Great War (he spent six months in jail for speaking on a street corner). Later, with the rise of fascism, he advocated for US vigilance and filled out a draft registration card at age 52. By the end of his life he had renounced socialism: “We walk with the code of Civilization: The Ten Commandments and the great Hebrew Prophets who were every bit Conservative” (<em>New Guard</em> April 1962: 19). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-17-folder-15" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Nesin, George, 1889-1962
Publisher
An entity responsible for making the resource available
Federal Art Gallery
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18223
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
130
Farm
Federal Art Project
George Nesin
New Deal Gallery
painting
-
https://openvalley.org/files/original/e4bf8bc3392d11ee298118db3695e3fa.jpg
f5ad68ab77394da3ceeadf9dca6bd748
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
Photograph of oil painting
Physical Dimensions
The actual physical size of the original image
16 x 20 in.
Painting condition: surface dirt
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
April Day #1
Format
The file format, physical medium, or dimensions of the resource
jpeg, 826 KB
Description
An account of the resource
From just the other side of a split rail fence, we look downhill to a pasture and then patchwork of fields in the valley below. A stream cuts across diagonally and passes under a covered bridge; a horse and foal stand in the foreground, with sheep resting behind them. It’s a peaceful moment at dawn, a few pink clouds hovering nearby. Sabalauskas’ steep ramp of solarized colors ranges from golden pastures nearby to violet mountains in the distance. Note: this digital image is from a photograph taken during the 1990s; the painting has disappeared from the New Deal Gallery.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: We haven’t located any reliable information about this artist. Please contact us if you're able to help.
Creator
An entity primarily responsible for making the resource
Sabalauskas, Joseph
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
Pretzer, Ron (photography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18261
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
166
Bridge
Farm
Federal Art Project
New Deal Gallery
painting
Simon Sabalauscas
-
https://openvalley.org/files/original/67a873a72eed00a1e2ad03ef497a107f.jpg
9d8884e8945adb0bf9eb49c5c41563ec
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
23 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
Life of George Washington--The Farmer
Description
An account of the resource
Washington is depicted as a beneficent gentleman farmer of his Mt. Vernon estate in Virginia, surrounded by a well-ordered operation, its overseer, happy workers, and two children playing in the foreground. The image is part of a five-part series illustrating George Washington in idealized portraits: as farmer; as a statesman at the Constitutional Convention; at his marriage; as a Captain in the French and Indian War; and on his deathbed.<br /><br />They were created during the volatile antebellum period and deployed mythical images on behalf of slavery. That Washington's workers are slaves--and the overseer and children white--shows how fraught the issue of farm labor was at a national scale. In New York, farmers rejected slavery but still needed hired labor when the scale of agriculture increased. <br /><br />Note: the original border of this lithograph has been cropped
Creator
An entity primarily responsible for making the resource
Stearns, Junius Brutus (painting)
Regnier, Claude (lithograph)
Publisher
An entity responsible for making the resource available
Library of Congress
Date
A point or period of time associated with an event in the lifecycle of the resource
1853?
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
Library of Congress Prints and Photographs Division
Permalink: https://lccn.loc.gov/96521631
Format
The file format, physical medium, or dimensions of the resource
jpeg, 535 KB
Type
The nature or genre of the resource
Still image
Farm
farmers
George Washington
Mt. Vernon
Slavery
-
https://openvalley.org/files/original/dd866bf8e55a8f44bbe73381a5ee3558.jpg
f98e2acb750037e618f73ff9a672ea57
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
Engraving
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
A Hive of Farm Activity
Date
A point or period of time associated with an event in the lifecycle of the resource
1880
Format
The file format, physical medium, or dimensions of the resource
jpeg, 627 KB
Creator
An entity primarily responsible for making the resource
Wade (artist?)
F.W. O'Neill (author)
H.L. Williams (author)
Publisher
An entity responsible for making the resource available
R. Worthington
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
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>
Description
An account of the resource
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.
Type
The nature or genre of the resource
Still image
Beehive
Engraving
Farm
Farm implements
farming
Harvest
-
https://openvalley.org/files/original/b8301fc1be78862b859f6404441907cf.jpg
50d250e53278870f6269d2b8519ed4a9
https://openvalley.org/files/original/84ae7c21641f0c23bc4b2d8f4a10258f.jpg
86e9589dcc34b5d753a90c3c63d0fa95
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
15 x 10 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
Farm and Fireside
Description
An account of the resource
From the popular printmakers of the 19th century--an estimated 2-3 new works per week--comes this characteristic lithograph of rural life. Its composition is striking for the angled view into a farm's domestic spaces, so viewers see what is "behind" both a farmer (his fields, field hands, equipment) and his wife (a hearth, furnishings, domestic servant). The two of them, along with a daughter, meet in the foreground for a tableau of well-ordered agricultural and domestic economies. Some of the tortured compositions entail the inclusion of hired labor crammed into the frame, yet relegated to the background.
Note: for the purposes of web display, original image has been cropped and edited.
Publisher
An entity responsible for making the resource available
Currier & Ives
Date
A point or period of time associated with an event in the lifecycle of the resource
1878
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
<a href="https://www.loc.gov/item/2001699076/" target="_blank" rel="noopener">Library of Congress</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg, 2 MB
jpeg, 1.8 MB
Type
The nature or genre of the resource
Still image
Currier & Ives
Domestic Economy
Farm
lithograph
-
https://openvalley.org/files/original/634c02bf2a47784fc0657f4d264cfc0c.jpg
280b726438a1c7155d0f9cd33450380f
https://openvalley.org/files/original/8e8e1f59712dc5f2b4bf899e7d80a4d8.jpg
02fa45927aefc21767da774501aed275
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
Engraved illustration
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
Laborer's Cottage
Description
An account of the resource
A letter to the editor of <em>The Genesee Farmer</em> claimed that the "drudgery and discomfort to which farmers’ wives and daughters are subjected" was even greater than the wives of laborers and mechanics. This was because farm women were responsible for "boarding and lodging large numbers of <em>hired men</em>" (Hill, "Laborer's Cottages--Farmer's Wives," <em>The Genesee Farmer</em> 19.1 (Jan. 1858): 16. Regardless of the writer's accuracy, he proposed housing hired farmworkers in small cottages as the solution.<br /><br />Directly borrowed from A.J. Downing's <em>T<a href="https://archive.org/details/architecturecou00downgoog/page/n88/mode/1up" target="_blank" rel="noopener">he Architecture of Country Houses</a></em> (1850), two renderings depict a modest structure containing a living room, pantry, three bedrooms, and a cellar. Its advantage was that a farmer "can employ married men and have them board themselves"--or more accurately their wives would. He claimed it would attract better hands and provide more comfortable accommodations for hired workers. Still, the focus was upon the expense, work, and ethnic distaste on the farmer's end: "we heartily desire the emancipation of farmers’ wives from the slavery of ‘keeping Irish,’ or Dutch, or even Yankee ‘boarding houses.’
Publisher
An entity responsible for making the resource available
<em>The Genesee Farmer1</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
1858-01
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
<em>The Genesee Farmer</em> 19.1 (Jan. 1858): 16<br /><br /><a href="https://archive.org/details/sim_genesee-farmer_1858-01_19_1/page/16/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a>
Format
The file format, physical medium, or dimensions of the resource
jpeg, 599 KB <br /><br />jpeg, 79 KB
Type
The nature or genre of the resource
Still image
Farm
Geneseo Migrant Center
House
migrant housing
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https://openvalley.org/files/original/7d90af11b369eb20708222d1161da7a3.jpg
43fb468e16f51ac9ac67681810555801
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
Physical Dimensions
The actual physical size of the original image
10 x 8 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
Hunter Camp at Marquart Farms, Wyoming County
Creator
An entity primarily responsible for making the resource
Cronin, William
Publisher
An entity responsible for making the resource available
Wyoming County Historian
Date
A point or period of time associated with an event in the lifecycle of the resource
1970s
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken
Source
A related resource from which the described resource is derived
Geneseo Migrant Center
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.8 MB
Description
An account of the resource
Roadway leading to migrant camp run by Elijah Hunter on behalf of Marquart Farms. At least four large buildings--each of which had a shared kitchen and dormitory-style beds--suggests that the farm employed a large number of migrant farmworkers. Flatbed trucks likely transported workers to the fields; the old school bus may have brought them from Florida to New York.
Type
The nature or genre of the resource
Still image
Farm
Marquart Farms
migrant housing
Wyoming County