1
10
4
-
https://openvalley.org/files/original/933bdfb9ca1b33dca4659811a3a51cb5.jpg
bad6cdbb8f0789e9d00e76c1667037bf
https://openvalley.org/files/original/4fdc3cea2119d8b3bad225fd19f379ed.JPG
ad3a442c0d5ebbc6bf7e36c58b2d3633
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
Condition: dented, surface dirt, paint flaked
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
Lilies and Shell
Description
An account of the resource
It’s possible that the flowers depicted in this still life are wild mountain lilies (Lilium auratum), also called the golden-rayed lily of Japan. Whatever the case, flowers’ size and colorful radials draw our attention inward—which is similar in effect to a conch shell pictured on the same table. Warm peach colors are played against complementary greens and blues.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Syracuse, NY, Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA <em>Morning Call</em> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909<sup>th</sup> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled <a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/">“After the Hike”</a>—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (<em>Syracuse Herald-Journal</em> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Philips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (<em>Muhlenberg Weekly </em>14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at <a href="https://americanart.si.edu/artist/harold-bowler-536">Smithsonian American Art Museum</a>. 3 works at <a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/">Michener Art Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19">FAP</a>.
Creator
An entity primarily responsible for making the resource
Bowler, Harold T., 1903-1965
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)
Cooper, Ken (biography)
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.2 MB
jpeg, 4.1 MB
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18119
Type
The nature or genre of the resource
Still image
Federal Art Project
Harold Bowler
New Deal Gallery
still life
-
https://openvalley.org/files/original/290cff5ceb14b7b1a235ab02faf464ee.jpg
5e4aa2b0e7269d26ed6fa09a77cff4ff
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
23.5 x 29.5 in.
Condition: dented, surface dirt, paint flaked
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
Victorian Still Life
Creator
An entity primarily responsible for making the resource
Bowler, Harold
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
Pretzer, Ron (photography)
Cannioto, Sydney (biography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Art Gallery, Genesee Valley Council On the Arts
Object #FA18119
Format
The file format, physical medium, or dimensions of the resource
Jpeg, 655 KB
Description
An account of the resource
Half a dozen lily flowering tulips are depicted in a milk glass vessel known as a “hand vase,” a popular design during the 1870s-80s. Perhaps the most interesting aspect of Bowler’s composition is how a soft opalescence is carried across a conch shell, the vase, the flowers, and even the wall behind his still life. Note: for several decades this painting had been mislabeled as Bowler’s <em>Lilies and Shell</em>. <br /><span style="text-decoration: underline;"><br />About the Artist:</span><span> </span><span><span style="font-weight: 400;">Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span></span>
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
029
Federal Art Project
Harold Bowler
New Deal Gallery
Oil on Canvas
painting
still life
-
https://openvalley.org/files/original/65349a145392542fc5af9f5117a1b3e1.jpg
3bbb7ce261c99099f7485eb92f21b79e
https://openvalley.org/files/original/f601a3bde49c8b2bbd1e46c2e75b7d86.JPG
a32648044781daa8e2fdc320032b06ee
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
23.5 x 29.5 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
Still Life in a Window
Description
An account of the resource
Bowler uses fine strokes to create a vibrant display of red and pink tulips spiraling outwards amidst a mass of strong, green leaves in a unique, white cornucopia vase. The arrangement is placed directly in the daylight on a white window bench along with a a silver plate of two apples and a pear dangerously close to the edge of the bench.The bright colors of the natural items seem almost out of place in the starkly white surroundings.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: <span style="font-weight: 400;">Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span>
Creator
An entity primarily responsible for making the resource
Bowler, Harold T., 1903-1965
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)
Chan, Sabrina (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 #FA18121
Format
The file format, physical medium, or dimensions of the resource
jpeg, 891 KB
jpeg, 13.7 MB
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
031
Federal Art Project
Harold Bowler
New Deal Gallery
still life
-
https://openvalley.org/files/original/6a1ecb72c1aae7bd6619fef5c26011b7.JPG
f3836bccb05c324651a71b1cbd29edf5
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
Pastel painting
Physical Dimensions
The actual physical size of the original image
15.5 x 19.5 in.
Condition: dented, surface dirt, paint flaked
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
Tang Figure
Description
An account of the resource
<p><span style="font-weight: 400;">Light pastels of white, red, green, and silver create a delicate and private image of an East Asian figurine behind a short pot of flowers, possibly lilies. The background is very bare and gray-scale, emphasizing the bright colors of the flowers. The white-to-red color transition of the flowers from left to right implies a period of change, more specifically from purity to maturity.<br /><span style="text-decoration: underline;"><br />About the Artist</span>: Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span></p>
Creator
An entity primarily responsible for making the resource
Bowler, Harold T., 1903-1965
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)
Chan, Sabrina (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 #FA18120
Format
The file format, physical medium, or dimensions of the resource
jpeg, 910 KB
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
030
Federal Art Project
Harold Bowler
New Deal Gallery
Tang Figure