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var str = '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.';
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Unknown photographer
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var str = '1919-04-04';
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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>
Baumbach, Harold, 1903-2002
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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>.
Cunning, John, 1889-1953
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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>.
Nesin, George, 1889-1962
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var str = '130';
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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.
Sabalauskas, Joseph
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var str = '166';
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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
Stearns, Junius Brutus (painting)
Regnier, Claude (lithograph)
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var str = 'Cooper, Ken';
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var str = 'jpeg, 535 KB';
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var str = 'Still image';
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<script>
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var str = 'A Hive of Farm Activity';
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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 = 'R. Worthington';
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var str = '1880';
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var str = 'Cooper, Ken';
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var str = 'jpeg, 627 KB';
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<script>
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var str = 'Still image';
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<script>
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var str = 'Farm and Fireside';
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var str = '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.';
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<a href="https://www.loc.gov/item/2001699076/" target="_blank" rel="noopener">Library of Congress</a>
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var str = 'Currier & Ives';
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var str = '1878';
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var str = 'Cooper, Ken';
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var str = 'jpeg, 2 MB
jpeg, 1.8 MB';
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var str = 'Still image';
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var str = 'Laborer\'s Cottage';
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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.’
<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>
<em>The Genesee Farmer1</em>
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var str = 'Cooper, Ken';
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jpeg, 599 KB <br /><br />jpeg, 79 KB
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var str = 'Still image';
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var str = 'Hunter Camp at Marquart Farms, Wyoming County';
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var str = '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.';
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Cronin, William
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var str = 'Geneseo Migrant Center
';
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var str = 'Wyoming County Historian';
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var str = '1970s';
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var str = 'Cooper, Ken';
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var str = 'jpeg, 1.8 MB';
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var str = 'Still image';
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