1
10
2
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https://openvalley.org/files/original/dd8eefb8fc321e2cdd7b8e53ac64ca13.jpg
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https://openvalley.org/files/original/af7b2d0bbe9af88997372c2ae793d9eb.JPG
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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
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
Sea Bass
Creator
An entity primarily responsible for making the resource
Earl, Godwin, 1860?-1944
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
1935-1940
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Cooper, Ken (biography)
Format
The file format, physical medium, or dimensions of the resource
jpeg, 782 KB
jpeg, 12.3 MB
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18161
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
071
Description
An account of the resource
<p>One of the more challenging still lifes you'll see, Earl strips down his painting to three primary objects: a cermanic casserole, two lemons, and the eponymous sea bass. Perhaps a third of his composition is given over to an unadorned countertop. If this were cuisine, the message would be: if you have good fish, don't adorn it unnecessarily. Perhaps Earl conceived of his shimmering bass in a similar manner.<br /><br />About the Artist: There is some contradictory information about this NDG artist, including the Federal Art Project listing his paintings as “Earl Godwin”—perhaps the confusion due to a prominent journalist having that name. Godwin Earl was teaching at the Los Angeles Art Institute as of 1928. For the 1930 census, in Los Angeles, Earl gave his birthdate as 1865 and his birthplace as Argentina; for the 1940 census, in New York, he gave his birthdate as 1860 and birthplace as New York. The 1860 birthdate seems more likely, since in 1941 he penned an epigram entitled “I’m Over Eighty”: “I am very tender hearted, so / I want to gently drop, / Into a vat of boiling oil, / The pest who calls me ‘Pop’ ” (<em>New York Sun</em> 11 Feb. 1941: 84). Everything that <em>is </em>known about Earl points toward a talented but curmudgeonly painter struggling amidst the Great Depression, in part due to his conservative standards of what constituted art. In response to MoMA’s plan to bring art supplies to soldiers in camps, Earl called it “another futile attempt to make people believe that art is something one can produce after a few days’ practice, as one would learn to whitewash the garden fence at home.” He instead argued for rigorous training (Godwin Earl, <a href="http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201942%20%20Grayscale/New%20York%20NY%20Sun%201942%20%20Grayscale%20-%200398.pdf" target="_blank" rel="noopener">“Dark View of Art,”</a> letter to editor, <em>New York Sun </em>22 April 1942: 20). 11 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-40" target="_blank" rel="noopener">FAP</a>.</p>
Federal Art Project
Godwin Earl
New Deal Gallery
painting
-
https://openvalley.org/files/original/5cfcb666fed71b1eb204f70fdc1b5908.jpg
d2ace026d84ff2344a76b8c0e610f2a1
https://openvalley.org/files/original/0d0b2124bb0add584373c73f54617271.JPG
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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
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
White Flowers
Creator
An entity primarily responsible for making the resource
Earl, Godwin, 1860?-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
1935-1940
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Bangsil, Kristopher (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 #FA18146
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
jpeg, 11.8 MB
Type
The nature or genre of the resource
Still image
Description
An account of the resource
The subject of this painting is a vase of white flowers. The flowers themselves are large and take up a significant portion of the area, but are balanced out by a multicolored vase underneath. The vase seems to have the pattern of some sort of animal in a variety of colors. The background is beige and displays some shadows, indicating curvature or a corner. The flower and its vase are the only subjects in this painting.<br /><br /><span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: There is some contradictory information about this NDG artist, including the Federal Art Project listing his paintings as “Earl Godwin”—perhaps the confusion due to a prominent journalist having that name. Godwin Earl was teaching at the Los Angeles Art Institute as of 1928. For the 1930 census, in Los Angeles, Earl gave his birthdate as 1865 and his birthplace as Argentina; for the 1940 census, in New York, he gave his birthdate as 1860 and birthplace as New York. The 1860 birthdate seems more likely, since in 1941 he penned an epigram entitled “I’m Over Eighty”: “I am very tender hearted, so / I want to gently drop, / Into a vat of boiling oil, / The pest who calls me ‘Pop’ ” (</span><i><span style="font-weight: 400;">New York Sun</span></i><span style="font-weight: 400;"> 11 Feb. 1941: 84). Everything that </span><i><span style="font-weight: 400;">is </span></i><span style="font-weight: 400;">known about Earl points toward a talented but curmudgeonly painter struggling amidst the Great Depression, in part due to his conservative standards of what constituted art. In response to MoMA’s plan to bring art supplies to soldiers in camps, Earl called it “another futile attempt to make people believe that art is something one can produce after a few days’ practice, as one would learn to whitewash the garden fence at home.” He instead argued for rigorous training (Godwin Earl,</span><a href="http://fultonhistory.com/newspaper%209/New%20York%20NY%20Sun/New%20York%20NY%20Sun%201942%20%20Grayscale/New%20York%20NY%20Sun%201942%20%20Grayscale%20-%200398.pdf" target="_blank" rel="noopener"> <span style="font-weight: 400;">“Dark View of Art,”</span></a><span style="font-weight: 400;"> letter to editor, </span><i><span style="font-weight: 400;">New York Sun </span></i><span style="font-weight: 400;">22 April 1942: 20). 11 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-8-folder-40" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span>
Identifier
An unambiguous reference to the resource within a given context
056
Federal Art Project
Godwin Earl
New Deal Gallery
painting
still life