1 10 1 https://openvalley.org/files/original/20f5832130e7e2d1a6ece97485c641a2.JPG bc7130bae6c974ffbd00535271f85022 https://openvalley.org/files/original/99d7422c81fd01b63bab693ac818f014.JPG dff452101cdfc8a25319d31b8458512b 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 painting Physical Dimensions The actual physical size of the original image 20 x 16 in. Condition: 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 Autumn Leaves Description An account of the resource Delicate, minimalist still life depicts a vase of cut stems from trees and plants. In keeping with the season—but also reminding us of time’s passage—two leafs have fallen upon an unadorned table. McEvoy’s flattened background transforms the leaves into an arrangement of color and form; a seemingly glowing, ruby-red globe is at once part of the autumnal pallette and an object of fascination in its own right. About the Artist: What’s known of McEvoy is very limited and seems to reflect the limited opportunities for women artists during her time. She was born in Dubuque, IA, and appears to have studied at the Art Institue of Chicago. By the 1930s her name is mentioned in newspaper items as a teacher at the Queensborough Community Art Center; reading poems or reading palms at a Woodstock summer fundraiser. Her paintings “Allegro” and “Intime”  were shown at the Woodstock Art Gallery; “The Willow Tree,” “Paradise,” and “Flowers” at the Larkin House, Ossining, NY. At one of these shows her work was exhibited along with NDG artist Erna Lange, and it’s interesting to imagine that the two women might have met. During 1937 McEvoy worked for the “Gallery Tours” division of the Federal Art Project: “Miss McEvoy will describe the techniques of etching, aquatint, and lithography, and a demonstration of the printing of a lithograph will take place” (Daily Worker 13 April 1937: 7). Creator An entity primarily responsible for making the resource McEvoy, Myrtle S., 1892-1973 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 Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18203 Format The file format, physical medium, or dimensions of the resource jpeg, 968 KB jpeg, 10.3 MB Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 110 Federal Art Project Myrtle McEvoy New Deal Gallery painting still life