1
10
3
-
https://openvalley.org/files/original/15e9298a829ae95fcaaffb8d3db46bec.JPG
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https://openvalley.org/files/original/2789392460e20d3df050250bc2cde2fd.JPG
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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
Watercolor painting
Physical Dimensions
The actual physical size of the original image
17.5 x 11.5 in.
Condition: slightly buckled paper
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
Woods House
Format
The file format, physical medium, or dimensions of the resource
jpeg, 826 KB
jpeg, 7.1 MB
Description
An account of the resource
Across a field we see two small buildings next to a larger one mostly obscurred by trees at left. Given their size and delapidation, it can be inferred that the lives within the homes are humble ones—perhaps agricultural workers, given the pile of hay at right. Telephone or electrical poles are visible near a road at right, along with an unreadable sign. Ramer’s subtle composition emphasizes the things we don’t know about the woods house(s), but they’re tucked into the center of his painting. Note: the line across this painting is due to broken glass in the painting’s frame.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>.
<p><span style="text-decoration: underline;">Sources Consulted</span>: Charles Z. Offin, “Introducing Nat Ramer,” <em>Brooklyn Daily Eagle </em>23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” <em>New York Post </em>22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman.</p>
Creator
An entity primarily responsible for making the resource
Ramer, Nathaniel (“Nat”), 1904-1987
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)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18250
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
157
Federal Art Project
Nathaniel Ramer
New Deal Gallery
painting
Watercolor
-
https://openvalley.org/files/original/5c9e615a8942ecbc1d0bdb5fa614cd0a.JPG
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https://openvalley.org/files/original/d0f06e11658ddff7a69da8ddc3474885.JPG
2b66b84cca6d10c5c46b6e6bf6dbd2cc
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
Watercolor painting
Physical Dimensions
The actual physical size of the original image
12 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
The Lot Next Door
Format
The file format, physical medium, or dimensions of the resource
jpeg, 839 KB
jpeg, 6 MB
Description
An account of the resource
It would appear that we’re looking at a farm—barn, silo, outbuildings, a line of trees—around haying season. So why the painting’s title? The nearest lot seems to be across a road, but fence posts run across it; if so this would be an informal farm road, not a county highway, and our proximity to the work of agriculture is even closer. Golds of haystacks stand out against lines of green.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP.</a>
<p><span style="text-decoration: underline;">Sources Consulted</span>: Charles Z. Offin, “Introducing Nat Ramer,” <em>Brooklyn Daily Eagle </em>23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” <em>New York Post </em>22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman.</p>
Creator
An entity primarily responsible for making the resource
Ramer, Nathaniel (“Nat”), 1904-1987
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)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18249
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
156
Federal Art Project
Nathaniel Ramer
New Deal Gallery
painting
Watercolor
-
https://openvalley.org/files/original/7806b2b04e31486de517b56291332733.JPG
f6a0993ce0790c7314872f232b88f6e8
https://openvalley.org/files/original/4b528c250f4c934b82abe352e7a0f402.JPG
8979ea93d635abc4b42f1d1ea737d60a
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
22.5 x 16.5 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
Fishkill Fields
Format
The file format, physical medium, or dimensions of the resource
jpeg, 981 KB
jpeg, 11.6 MB
Description
An account of the resource
Using a fairly flat picture plane, Ramer uses an array of muted colors to depict a rural scene in Duchess County (mountains in the background may be the Fishkill range). The composition is balanced between an aging tree at left, a windmill at right. Between them is an area somewhat nebulous in its use; colors may indicate corn tassels, or simply overgrown fields. The building seems in good repair, however, so its effect is to serve as antipole to the largely natural landscape.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in Lemberg, Ukraine, Ramer immigrated to the US with a family holding strongly progressive views (a younger brother, Aaron, was killed in the Spanish Civil War while serving in the Abraham Lincoln Brigade). During the 1930s Ramer’s work was exhibited at the Pennsylvania Academy of the Fine Arts (1934), the Corcoran Gallery (1935), and the Montross Gallery (1936), among other venues. Reviews of his work suggest a protean sensibility, of choosing “to experiment in different fields of painting and “submit[ting] them all to public scrutiny” (Offin). Another visitor thought his “more imposing” figures and still lifes were “not as inviting as his lighter and more fluent” landscapes—an opinion seemingly shared by those who allocated three works to the Mt. Morris sanatorium (“The Critic”). Ramer continued to evolve, in the 1950s influenced by abstract expressionism, in the 1960s and ‘70s according to his nephew “doing some large lucite cast abstractions with found objects that had a La Brea tarpits kind of quality” (Friedman). All this while he maintained a studio upstairs from Max’s Kansas City on Lower Park Avenue, sometimes teaching art classes at Brooklyn College. Much of his work suffered fire damage from the club below or was not preserved after his death. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-18-folder-47" target="_blank" rel="noopener">FAP</a>.
<p><span style="text-decoration: underline;">Sources Consulted</span>: Charles Z. Offin, “Introducing Nat Ramer,” <em>Brooklyn Daily Eagle </em>23 Feb. 1936: C13; “The Critic Takes a Glance Around the Galleries,” <em>New York Post </em>22 Feb. 1936: 24. For additional information, a special thanks to Alan Friedman.</p>
Creator
An entity primarily responsible for making the resource
Ramer, Nathaniel (“Nat”), 1904-1987
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)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18248
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
156
Federal Art Project
Nathaniel Ramer
New Deal Gallery
painting