1 10 1 https://openvalley.org/files/original/04b262188c664a51b4243da539e85d76.jpg 3ea2bd25088177a4b478c0bde7474043 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." 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. 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 board Physical Dimensions The actual physical size of the original image 30 x 40 in. Condition: surface dirt, stained slightly 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 Japanese Garden Description An account of the resource This painting depicts blooming Japanese flora in what appears to be a body of water; however, most of the canvas is negative space, a technique that allows for a higher contrast in colors of Ward’s vegetation. It also is perhaps intended to allow viewers to contemplate life and its meaning, for the flowers and waterlilies surrounding the base of the vegetation—their branches and petals—are flourishing. About the Artist: Ward was born, in Paris, to a family of artists. His father <a href="https://www.metmuseum.org/art/collection/search/13132" target="_blank" rel="noopener">Edgar Melville</a> was a noted genre painter who directed the National Academy of Design for twenty years; his uncle <a href="https://en.wikipedia.org/wiki/John_Quincy_Adams_Ward" target="_blank" rel="noopener">John Quincy Adams Ward</a> was even more famous for his public sculptures. The younger painter studied with <a href="https://en.wikipedia.org/wiki/Edward_William_Carlson" target="_blank" rel="noopener">Edward William Carlson</a>, <a href="https://en.wikipedia.org/wiki/Francis_Coates_Jones" target="_blank" rel="noopener">Francis Coates Jones</a>, and—perhaps most influential—the muralist <a href="https://en.wikipedia.org/wiki/George_W._Maynard" target="_blank" rel="noopener">George W. Maynard</a>. He lived much of his life in Ulster County. As of the mid-1930s Ward, in addition to painting, was a designer and a muralist in his own right (Kingston Daily Freeman 30 July 1936: 7). His “Under Sea Life” was at the Jones Beach Pavillion, and he created several for Wells College, Aurora NY. Creator An entity primarily responsible for making the resource Ward, Edgar Melville, Jr., 1887-1943 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 (photographer) Griffin, Michael (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18285 Type The nature or genre of the resource Still image Format The file format, physical medium, or dimensions of the resource jpeg, 2.5 MB Identifier An unambiguous reference to the resource within a given context 192 Edgar Melville Ward Jr Federal Art Project John Quicy Adams Ward New Deal New Deal Gallery Oil Painting painting