2 10 240 https://openvalley.org/files/original/c22c1d4b30c4fc47dbb0c40e1e01e6b1.JPG 6002121380f12eddf4cff8c5232562da 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 10.5 x 7.5 in. Condition: paper buckling, 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 The Ox Wagon, Mexico Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource One of several prints Ximenez created for the Associated American Artists gallery in New York, this artfully composed scene manages to fit several elements of Mexican culture into its frame. Upon cobblestone streets and against the wall of a building, a heavy wagon with wooden wheels carries a bundle of wood. It is pulled by two mottled oxen, driven by a man wearing a serape and sombrero. Although the serape’s bold design catches the eye, it’s only one of several patterns gathered here. About the Artist: Born in Mexico, Ximenez studied at the Bellas Artes while supporting himself as a commercial artist. He immigrated to the US in 1923 and married the daughter of famous concert pianist Maria Carreras two years later. For a brief time Ximenez was the subject of tabloid fascination after her parents, he charged, tricked her into traveling to the US so as to marry a wealthier America (Davis). In 1930 he was working as a cartoonist in New York, then shortly after that must have moved west to pursue employment. As of 1935, Ximenez had been working four years as an animator in the Hollywood studio of <a href="https://en.wikipedia.org/wiki/Fleischer_Studios" target="_blank" rel="noopener">Max Fleischer</a> and was exploring the establishment of his own in Mexico (Motion Picture Daily 7 Aug. 1935: 10). Apparently this did not work out, because he exhibited his FAP-sponsored work was exhibited at the Brooklyn Academy of Music (1936) and an Associated American Artists traveling show during 1937. 4 more works at the <a href="https://www.nga.gov/collection/artist-info.34152.html" target="_blank" rel="noopener">National Gallery of Art</a>. 1 more work at the <a href="https://art.famsf.org/alfredo-ximenez/fruit-vendor-m%C3%A9xico-19633024789" target="_blank" rel="noopener">Fine Art Museums of San Francisco</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-32" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Forrest Davis, “Parents Stole Bride, Says Artist” (New York Daily News 13 April 1928: 514). Creator An entity primarily responsible for making the resource Ximenez, Alfredo, 1903-2000? 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 1935-1942 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 #FA18373 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 201 Alfredo Ximenez Engraving Federal Art Project New Deal Gallery https://openvalley.org/files/original/db4698a917430da0e48e11615a92e03b.JPG 6bf16a929a9fcd42f66447bdaf559a0b 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 24 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 Lilies Format The file format, physical medium, or dimensions of the resource jpeg, 1.1 MB Description An account of the resource From slightly above a table, we look down upon a vase of trumpet lilies playing in all directions, their green foliage lush. A dark background adds dramatic contrast the white lilies. Next to the vase is a figure wearing a helmet or headress with a red jewel. About the Artist: There are conflicting, possibly invented details surrounding the life of this colorful artist. Born in England to a Spanish father and English mother, her birth name was Mable Alice Mary Azue; her stated birth date ranges between 1896 and 1901. According to a 1951 newspaper feature, her mother was killed during a 1914 German bombing raid of London, then the teenager’s education was sponsored by a soldier named George W. Witten, who married her a year later when she was sixteen. Col. Witten’s own story—of running away from home to become a soldier of fortune, fighting in the Boer War, plotting to overthrow Venezuela, publishing exposes of fraudulent stock transactions—has its own interests, not least his profession as writer-adventurer (Hooper, “Soldier”). Bunty Witten’s life as an artist included study in New York with Michel Jacobs and fashion designer Ethel Traphagen, then briefly at Académie Colarossi in Paris. Her work included commercial art, interior design, and book illustration. A charming illustration for Jack O’Brien’s <a href="https://openvalley.org/items/show/1332" target="_blank" rel="noopener">Rip Darcy, Adventurer (1938)</a> shows her talent for portraiture, which included several well-known figures: Gen. Robert Lee Bullard and the aviators Amelia Earhart and Jessie “Chubbie” Miller. As of the late 1930s she and her husband, Col. George W. Witten, had relocated to St. Petersburg, FL. Sources Consulted: Paul Hooper, “The Vista That Hides the View,” Tampa Tribune 18 Nov. 1951: 45; Paul Hooper, “Soldier of Fortune Finally Reaches ‘Journey’s End,’” Tampa Tribune 15 June 1952: 46; Lilian Blackstone, “Artist and Husband Forget Their Proposed Trip to Guatemala as Soon as They Reach Here,” Tampa Bay Times 30 April 1932: 14. Creator An entity primarily responsible for making the resource Witten, Bunty, 1894-1968 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 #FA18372 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 200 Bunty Witten Federal Art Project New Deal Gallery still life https://openvalley.org/files/original/2aada556b0457d10f9690402e2ed86e9.jpg 77863f0967fb4f0fadf783dce68ae903 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 16 x 20 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 Mexican Bric-a-Brac Description An account of the resource The range of bric-a-brac depicted here is quite broad: a blue glass bottle, a painted ceramic plate, a napkin and cloth, a pair of blue shoes, a flower, a magazine, and what appears to be an avocado. Attempting to chart an underlying symbolism, in the manner of traditional still lifes, is perhaps less important than its Mexican location. Assembled with seeming informality, each object has an American counterpart that would be less unfamiliar. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 1937-06 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 #FA18371 Format The file format, physical medium, or dimensions of the resource jpeg, 964 KB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 199 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/4b9fa3410e00febae1206d1d260f345c.JPG b1efa3b4e3910d70de4234d86e9ca5a1 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: chipped, 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 Flowers and Fruits Description An account of the resource Winograd uses a post-impressionist framework to depict household objects and the geometry of their surrounding space. Shapes are disrupted by vertical lines (like the pears and pitchers) or become radically abstracted (like green leaves as diagonals). The painting’s vivid colors and casual domesticity keep it from appearing clinical; rather, like the title of a magazine partially visible at lower left, it manifests the “Art” of everyday vision. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.2 MB Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 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 1937 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 #FA18370 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 198 Federal Art Project Helen Winograd New Deal Gallery still life https://openvalley.org/files/original/292c2dd043c212b820f996d37b2174e3.JPG c58f006cf6ac211eb3a032e615ffad98 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 canvas 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 Mexican Still Life Creator An entity primarily responsible for making the resource Winograd, Helen, 1910-2010 Publisher An entity responsible for making the resource available Federal Art Projecct Date A point or period of time associated with an event in the lifecycle of the resource 1937-02-02 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Fernandez, Yadelin (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18369 Type The nature or genre of the resource Still Image Description An account of the resource We look at what appears to be a table, many different items rest on its surface. Towards the bottom right corner there is half of a block of cheese that is hidden through the strokes of the table. Moving further up into the middle ground, there is a pear standing on a blue piece of cloth and towards it right side there is clay pot resting on a red piece of cloth with strips. The pot has a dove resting on an olive branch. Behind these two objects, there is a orange hidden behind the pear and a flower pot with numerous Canna Lilies. The plant seems fatigued by the lack of space in the frame. Most of the objects presented in this piece are juxtaposed by its surrounding as these natural objects are constrained by their surrounding. About the Artist: Born in New York City, Winograd’s parents Sigmund and Sadie Winograd both were immigrants—from Poland and Russia, respectively. Their daughter seems to have been born an artist. She was first recognized at the age of 10, winning a gold medal in the Wanamaker competition for an oil painting of a New York City street scene. Winograd attended the Art Students League of New York, where were she was taught by <a href="https://en.wikipedia.org/wiki/George_Bridgman" target="_blank" rel="noopener">George Bridgman</a> and <a href="https://en.wikipedia.org/wiki/Guy_P%C3%A8ne_du_Bois" target="_blank" rel="noopener">Guy Pène du Bois</a>. She pursued further education at the National Academy of Design and City College of New York after graduation, becoming an art teacher in the New York City Public Schools. During the 1930s Winograd worked in the WPA Easel divsion and, throughout World War II, in the USO’s Hospital Sketching Program: she drew portraits of wounded soldiers recovering in military hospitals. In 1951 Winograd married physicist Felix E. Geigner, who had worked on the Manhattan Project and would go on to research for NASA's Mercury and Apollo projects. Winograd later earned her BFA and MFA from the George Washington University. According to her family she spent the last 25 years of her life “chang[ing] the paradigm of aging” by challanging the stereotype of the elderly’s inablity to be active in different forms. Winograd died peacefully in her sleep at the age of one hundred. Source Consulted: <a href="https://www.findagrave.com/memorial/140709616/helen-geiger" target="_blank" rel="noopener">“Helen Winograd Geiger,”</a> Ancestry.com. U.S. Cemetery and Funeral Home Collection [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2011. Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Identifier An unambiguous reference to the resource within a given context 197 Federal Art Project New Deal Gallery painting still life https://openvalley.org/files/original/b838e78a406628baffd89ef047b5598d.JPG 20be8b27da0af7b3cb5db3c572f3b02b 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 24 x 30 in. Condition: pitted, pen 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 Red Clown Description An account of the resource A clown dressed in a red costume and ruffled collar holds up a game of Tic-Tac-Toe to play with a dog—or is it a pig, given the body shape and curly tail? Behind them, a large crowd under a big-top tent watches the two perform. It’s not entirely clear what the clown’s gesture signifies, nor what the animal is supposed to do next. Willmott imparts colorful detail to the clown’s eyes, face and makeup, to the props of his trade. As with the work of fellow NDG artist Gerrit Hondius, there may be overtones of social criticism in circus paintings during the Great Depression. About the Artist: Born in New York to immigrants from England, Willmott grew up in Queens and studied at the Hartford Art School during the early 1930s. His varied subject matter and style was criticized, at a 1932 exhibit, for “going in too many directions at once....Each canvas is almost a new departure from every other one” (New York Evening Post 12 Mar. 1932: 3). Such eclecticism may have been better suited for commercial illustration, as in a puzzle book by F. E. Menaker entitled How Smart Are You? (1935). There may have been other such work not yet identified. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-17" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Willmott, Cyril, 1907-1968 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 1937-08-24 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Evenden, Elana (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18366 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 Identifier An unambiguous reference to the resource within a given context 194 Circus Cyril Willmott Federal Art Project New Deal Gallery painting https://openvalley.org/files/original/c859d77bb50325e4298c0b854021222d.JPG 1bed631faf5d166ecf58c56d9818e411 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 19.5 x 15.5 in. Condition: stained, 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 Winter Night Creator An entity primarily responsible for making the resource Widlizka, Leopold, 1870-1940 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 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bangsil, Kristopher (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18367 Format The file format, physical medium, or dimensions of the resource jpeg, 765 KB Type The nature or genre of the resource Still image Description An account of the resource This painting depicts a snowy mountainside. Tall, dark trees contrast the lighter highlights of the snow around them. In the distance, two mountain peaks are visible against the skyline. The trees progressively grow smaller in the distance, creating an element of perspective that makes the mountains tower over the foreground. The silhouettes of birds are seen flying over the ground, creating one source of movement in an otherwise completely still winter landscape. About the Artist: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener">FAP</a>. Source Consulted: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>. <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener"></a> Identifier An unambiguous reference to the resource within a given context 195 Federal Art Project Leopold Widlizka New Deal Gallery painting https://openvalley.org/files/original/07da104bed1027ebaa6c690d6499f665.JPG f1b7eeba0b8426112bc008c68091d0c4 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 16 x 20 in. Condition: slightly pitted 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 Mountain Torrent Description An account of the resource A cascade of water runs diagonally in Widlizka’s composition, separating two areas of trees standing on what appears to be rocky foundation. Much of the water is obscured by the trees, several of which are very dark green with some lighter shades behind them. It is hard to see what lies in the background, rendering the source of this torrent more obscure and mysterious. About the Artist: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener">FAP</a>. Source Consulted: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>. Creator An entity primarily responsible for making the resource Widlizka, Leopold Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Bang, Jay (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18368 Type The nature or genre of the resource Still Image 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 Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Identifier An unambiguous reference to the resource within a given context 196 Federal Art Project Leopold Widlizka New Deal Gallery Oil on Canvas painting https://openvalley.org/files/original/f1d52f98a921d7c02df5cdcaefb99328.JPG 70afb96da22205834e6a29dc699300e1 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 24 x 30 in. Condition: tack marks, surface dirt, flaking paint 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 Girl with Tulips Creator An entity primarily responsible for making the resource Wein, Elsie, (b. 1898?) 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) Anderson, Justin (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18365 Format The file format, physical medium, or dimensions of the resource jpeg, 1.3 MB Type The nature or genre of the resource Still Image Description An account of the resource A pale-skinned young woman with blue eyes and brown hair, wearing a blue day dress, lifts a single red tulip stem from a vase of five red tulips. Mirroring the dark brown background, a round, wooden table is the stable platform for the two-handled white vase which holds the tulips. The woman's thoughtful stare evokes a dreamlike sense of nostalgia. About the Artist: We haven't located much reliable information about this artist. Elsie Wein may have immigrated to the United States from Hungary. Some records indicate that during the 1920s she may have lived in Baltimore, MD and showed her paintings there. There also is an intriguing reference to a WBNY radio program, “Art Talk,” with an Elsie Wein as its host during the late 1920s and early ‘30s. In any event, a painter of this name worked for the WPA in at least two programs. 9 more works at the <a href="https://www.nga.gov/global-site-search-page.html?searchterm=elsie+wein" target="_blank" rel="noopener">Index of American Design</a>. 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-48" target="_blank" rel="noopener">FAP</a>. Identifier An unambiguous reference to the resource within a given context 193 Elsie Wein Federal Art Project flowers New Deal Gallery painting 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