1
10
3
-
https://openvalley.org/files/original/27fe90298818ea09f77f1b435d48f0f9.jpg
88c7c9cd6bd95410dfef93ba2f6d932b
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 paper
Physical Dimensions
The actual physical size of the original image
24 x 18 in.
Condition: needs remounting
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
Vase of Tulips
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
Description
An account of the resource
A photograph doesn’t do justice to Sarkadi’s deft use of color and texture upon his paper medium. Were the painting’s few splashes of white removed, we would see three stems of tulip, along with a bit of greenery, in a glass jar set inside of a bowl. The splashes do not add depth to the painting but rather prevent a tidiness that elsewhere is rejected in favor of speckled shadows and reflections, unfilled sketch lines, and (through the years) paper that has itself become wrinkled. <span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: <em>Within Four Walls </em>(1900), <em>Children at Play</em> (1907), <em>The Line of Life </em>(1916), <em>The Gusher </em>(1928), <em>Fourflusher</em> (1928), and <em>The Angel</em> (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York <em>Sun </em>10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Sarkadi-Schuller, Leo, 1879-1947
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)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18263
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
170
Federal Art Project
Leo Sarkadi-Schuller
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/e1afcf265b4d323253c9cacbfb3aa83e.JPG
f9efac7ca8d99ffeb4da6ba42a8c204b
https://openvalley.org/files/original/3f1d7a7dd465ce6f333cadf784199a25.JPG
1c2584ed582c0e9594007dd8169038b9
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
20 x 25 in.
Condition: chipped paint, 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
Edge of the Garden
Format
The file format, physical medium, or dimensions of the resource
jpeg, 885 KB
jpeg, 10.3 MB
Description
An account of the resource
At least two questions are implied by this painting’s title: which edge of the garden, and what is a garden? Due to a flattened plane and Sarkadi’s composition we see a row of hollyhocks and other tall flowers at the bottom of the canvas, with no indication of what lies between them and us; nor can we see what lies between them and houses further in the distance. A dense line of forest forms a backdrop to the homes, whose intriguing colors and patterns echo those of the flowers. Overhead, a tall tree on the forest’s “other” edge and a hint of blue sky.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: <em>Within Four Walls </em>(1900), <em>Children at Play</em> (1907), <em>The Line of Life </em>(1916), <em>The Gusher </em>(1928), <em>Fourflusher</em> (1928), and <em>The Angel</em> (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York <em>Sun </em>10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Sarkadi-Schuller, Leo, 1879-1947
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)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18262
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
169
Federal Art Project
Leo Sarkadi-Schuller
New Deal Gallery
painting
-
https://openvalley.org/files/original/565557d791a6d96df53279b44c5d6256.JPG
903379c0e454de948fdca6ce7545747a
https://openvalley.org/files/original/0c4611dfb04118842f9fc6e41d06cb3e.JPG
c0258dd83ccafe6678322e57b179d059
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
29.5 x 23.5 in.
Condition: pencil marks, 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
Chinese Jar
Format
The file format, physical medium, or dimensions of the resource
jpeg, 925 KB
jpeg, 11.6 MB
Description
An account of the resource
<span style="text-decoration: underline;"></span>A striking composition is achieved with very few objects: the painting’s eponymous vase, a few flowers and blooming limbs, a goldfish bowl, and two paintings. Carefully outlined shapes play against a scattering of colors applied thickly—even three-dimensionally—to the canvas. A branch traces the meandering line between a vivid goldfish in the bowl and equally bright flowers held by the jar. The painting at left creates a window upon some outdoor scene.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Budapest, Hungary, Sarkadi relocated first to London and then, in 1914, to the US. His artistic life began as a dramatist, writing one-act plays that spanned his time in both countries: <em>Within Four Walls </em>(1900), <em>Children at Play</em> (1907), <em>The Line of Life </em>(1916), <em>The Gusher </em>(1928), <em>Fourflusher</em> (1928), and <em>The Angel</em> (1929). One <a href="https://archive.org/details/withinfourwallsa00schuiala/page/n7" target="_blank" rel="noopener">published collection</a> of these plays, however, features illustrations that may be Sarkadi’s and would indicate a longstanding interest in the visual arts, although his painting career dates to the early 1930s. He also exhibited sculptures on more than one occasion, showing himself to be a multitalented artist. Sarkadi’s paintings were shown at the Balzac Gallery, Ainslie Galleries, and the American Artists Congress. His friend Willy Pogany, a fellow artist from Hungary, wrote how “it is strange that a man so saturated with transcendental philosophy antagonistic to matter, should take up painting as a means of expresssion...But with Sarkadi the process is different....Color attracts him just as much as form is evaded, and here we find that his instinctive choice of vehicle for the mysticism and yearning for limitless space is more than justified by the result” (New York <em>Sun </em>10 May 1924: 6). 3 works at the Brooklyn Museum. 12 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-21" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Sarkadi-Schuller, Leo, 1879-1947
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
1936
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 #FA18260
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
167
Federal Art Project
Leo Sarkadi-Schuller
New Deal Gallery
painting
still life