1 10 2 https://openvalley.org/files/original/0704c438820f39298185c29f1b1ffdd7.jpg de706fe11f5c1ed27026f53fe3fb8a27 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 Etching Physical Dimensions The actual physical size of the original image 16.5 x 15.5 in Condition: to be remounted, glass and frame cracked, 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 Church Graveyard Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource The identity of this unusual church isn’t clear. Its design and steeple are characteristic of many found throughout New England; at the top of its steeple is a small “onion dome” turret usually found on Russian or Greek Orthodox churches. Jones may have found this subject matter intriguing, along with what appears to be a very old graveyard in the foreground. Lightly etched environmental details—clouds, trees, bushes—surround the central building like a nimbus. About the Artist: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener">Monkey Shines</a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Jones, Leon Foster, 1871-1940 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18181 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 088 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Church Etching Federal Art Project Leon Foster Jones New Deal Gallery https://openvalley.org/files/original/06dd5bfa3fa47f6df8977e322947f5eb.jpg 8d7f4100596795ce6601920e4e526462 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 Engraving Physical Dimensions The actual physical size of the original image 15 x 7.5 in. Condition: surface dirt on glass 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 Oyster House (The Dock) Description An account of the resource We see a dock or port building with two ships moored. Jones uses ink sparingly, but cross-hatches aggressively to convey the dark paint of the dock and shadows on the water. For lighter objects, he implies more than illustrates shape through his clear mastery of weight and shadow—the water, the sky, and the grass are left as negative space—upon blank white paper, with only a few lines scattered to imply shape and texture. The mountains at the edge of the canvas, too, lose definition and shape, vanishing into loose lines towards the left, but remain stark as they fade out of view within frame. The dock building itself commands attention at the center of the canvas, it’s entrance face rounding out the right side of the composition, its dark shading balancing out the stark white of the smaller ship and the water. The contrast of the water, mountains, and dock is surprisingly uniform across the canvas, as Jones masterfully balances positive and negative space—he leaves enough blank to not let ink dominate the canvas. A note about the painting: for at least twenty-five years this etching has been listed as missing; it was re-located in April 2019. It probably depicts the <a href="https://portjeff.com/wp-content/gallery/business-historical-photos/2011-8-94.jpg" target="_blank" rel="noopener">Suwasset Oyster Company</a> in Port Jefferson, NY, which was destroyed by winter storms in 1934. About the Artist: Born in Manchester, NH, Jones studied painting at the Cowles Art School in Boston under <a href="https://en.wikipedia.org/wiki/Ernest_Lee_Major" target="_blank" rel="noopener">Ernest Major</a> and <a href="https://en.wikipedia.org/wiki/Joseph_DeCamp" target="_blank" rel="noopener">Joseph de Camp</a>. His early career involved commercial illustration for the publisher <a href="https://en.wikipedia.org/wiki/Frank_Munsey" target="_blank" rel="noopener">Frank A. Munsey</a>, an indication of that style during this period possibly shown in his whimsical illustrations for a children’s book called <a href="https://archive.org/details/monkeyshineslitt00hall" target="_blank" rel="noopener">Monkey Shines</a> (1904). Among the places where Jones’ work was exhibited include the Salmagundi Club (1907, 1917, 1929), the Panama Pacific International Exposition in San Francisco (1915), and the Brooklyn Museum of Art (1930-31). In addition to the etching housed at the NDG, Jones’ other work for the WPA appeared at a rotating exhibition in Patchogue, NY (1936) and a posthumous print exhibition at Keuka College, Penn Yan, NY (1941). From about 1933 to 1940, he taught art at the Stony Brook School for Boys, a Christian co-ed college preparatory school. He lived for many years in Port Jefferson, NY. 12 works at <a href="http://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=4598" target="_blank" rel="noopener">The Athenaeum</a>. 1 work at the <a href="https://artsbma.org/collection/misty-day-in-winter/" target="_blank" rel="noopener">Birmingham Museum of Art</a>. 1 work at the <a href="https://www.mfa.org/collections/search?search_api_views_fulltext=leon+foster+jones&title=&culture=&artist=&creditline=&accession=&provenance=&medium=" target="_blank" rel="noopener">Museum of Fine Arts, Boston</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-50" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Jones, Leon Foster, 1871-1940 Publisher An entity responsible for making the resource available Federal Art Project Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photogrphy) Vanamee, Nicholas (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Type The nature or genre of the resource Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Engraving Federal Art Project Green New Deal Leon Foster Jones New Deal Gallery