1 10 235 https://openvalley.org/files/original/85a2e8048c8bcd2ff6908e2ac529151b.jpg e3c9e67f8d532c0270312e92e9b9ed9b https://openvalley.org/files/original/e594abc60b62eeb20e826eeca691be27.jpg 6144c5b353654d3a3f1abdb76ab62bdf 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. 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 Back of Erna Lange painting Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Stern, Alison 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, 791 KB jpeg, 521 KB Type The nature or genre of the resource Still Image Erna Lange Federal Art Project New Deal Gallery https://openvalley.org/files/original/265bb308735f8b7a3c8cfcfc76f67f9e.jpg f92936d3c5957786b3702ea4b60ebfd1 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 Photograph Physical Dimensions The actual physical size of the original image 2 x 3 in. 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 Painter Claude A. Patterson Description An account of the resource Artist best known for his landscape paintings is shown here at about age 28, in a yearbook photo from Monmouth College, IL. At the time Patterson was an "instructor of water color and drawing." He went on to teach at many other colleges to help finance his artistic pursuits. During the 1930s Patterson was employed by the Federal Art Project, and five of his works are at the New Deal Gallery, Mt. Morris. Publisher An entity responsible for making the resource available Monmouth College Date A point or period of time associated with an event in the lifecycle of the resource 1915 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Ravelings: Year Book of Monmouth College 22 (1915): 7. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 284 KB Type The nature or genre of the resource Still image Claude A. Patterson Federal Art Project New Deal Gallery Painter https://openvalley.org/files/original/b0713e5356627cd5efdb2ef012ef64eb.jpg 57c8eb443744fbc45923ca2ffac92a7e 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 Photograph Physical Dimensions The actual physical size of the original image 8 x 10 in. 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 Painter Charles Polowetski Description An account of the resource Promotional photo shows Federal Art Project painter in his studio putting the final touches on his portrait of Floyd Bennett, created for a new airfield near Brooklyn named after the aviation pioneer. A World War I pilot, Bennett was best known for his 1926 flight to the north pole with Adm. Richard E. Byrd. According to a press release, the painting's background "depicts the icebergs and water in King's Bay near Spitzbergen in the Arctic region, and shows the airplane in which Byrd and Bennett flew over the Pole." Polowenski (1884-1955) was a Polish immigrant who studied painting in New York and then in Paris. Although an accomplished landscape painter--his 1936 "Spring in Central Park" is at the New Deal Gallery--he was most in demand for his portraiture. Publisher An entity responsible for making the resource available National Air and Space Museum, Smithsonian Institution, Photograph No. 86-32, 785 Date A point or period of time associated with an event in the lifecycle of the resource 1930 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Reprinted in Judith Quinn, <a href="https://archive.org/details/historicstructur00quin/page/266" target="_blank" rel="noopener">Historic Structure Report: The Administration Building (The Ryan Center), Gateway National Recreation Area, Floyd Bennett Field Unit</a> (US Dept. of the Interior, 2000): 266. Courtesy of Internet Archive Format The file format, physical medium, or dimensions of the resource jpeg, 435 KB Type The nature or genre of the resource Still image Charles Polowetski Federal Art Project Floyd Bennett New Deal Gallery https://openvalley.org/files/original/830ea83e7dbc1088ed7f3ad9263e52f9.jpg 0c36e77f0746c97ee89496f24aeef5b3 https://openvalley.org/files/original/ee32ab4544b9ca0862a417ccd3f228e9.jpg 3ee5b9e790e1d963416046e7fa0b0d82 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 Photograph Physical Dimensions The actual physical size of the original image 2 x 3 in. 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 Photograph of Inez Abernathy Description An account of the resource Abernathy (1873-1956) was a landscape painter whose work is located at the New Deal Gallery, Mt. Morris. In order to support herself, she also was an art instructor at various colleges: Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas. Here, she is shown in the 1910 yearbook of the Florida State College for Women, in Tallahassee. She was a dedicated teacher; five years earlier, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss. Publisher An entity responsible for making the resource available Florida State College for Women Date A point or period of time associated with an event in the lifecycle of the resource 1910 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Flastacowo Vol. 1 (1910): 18. Courtesy of <a href="https://archive.org/details/flastacowo11910flor/page/18">Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 195 KB Type The nature or genre of the resource Still image Inez Abernathy New Deal Gallery Painter https://openvalley.org/files/original/80f50dfc0c6d3569a0c0a1f929388ac4.jpg ef8b68b42d3c8807f18457c7e70edf68 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 Photograph Physical Dimensions The actual physical size of the original image 4 x 4 in. 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 Photograph of Bena Frank and Ralph Mayer Date A point or period of time associated with an event in the lifecycle of the resource 1935? Contributor An entity responsible for making contributions to the resource Cooper, Ken Description An account of the resource Bena Frank (1898-1991) was a painter whose work for the Federal Art Project is displayed at the New Deal Gallery, Mt. Morris. She was a founding member of the New York Society of Women Artists. In 1927 she married artist Ralph Mayer (1895-1979), a painter whose chemical engineering background led to a specialization in paint manufacture, materials science, and art conservation. Together, they created the Artists Technical Research Institute in 1959. Source A related resource from which the described resource is derived Ralph and Bena Frank Mayer papers, [ca. 1920]-1964. Archives of American Art, Smithsonian Institution. Format The file format, physical medium, or dimensions of the resource jpeg, 346 KB Type The nature or genre of the resource Still image Bena Frank New Deal Gallery Painter Ralph Mayer https://openvalley.org/files/original/486e9f9690337ba1609b736642569645.jpg 733a4d70b35826bd6239a6eb80ebac25 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 Photograph 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 Photograph of Thomas C. Cole Publisher An entity responsible for making the resource available Rockport Art Association Date A point or period of time associated with an event in the lifecycle of the resource 1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Kitty Parsons Recchia, ed., Artists of the Rockport Art Association (Rockport Art Association, 1940): 39. Format The file format, physical medium, or dimensions of the resource jpeg, 642 KB Type The nature or genre of the resource Still image Cole, Thomas Casilear New Deal Gallery Painter https://openvalley.org/files/original/a3f187e0d6494059af53e7fb0d24bf74.jpg ff93f980c1e93d7983fdb9fdb720c676 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 Photograph 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 USS DeKalb Description An account of the resource Launched in 1904 as the Prinz Eitel Friedrich for a German cruise line, ship eventually was impounded by the U.S. during World War I, refitted as a troop transport ship, and re-launched as the DeKalb in 1917. After Armistice it was operated by an American cruise line between 1920-25 before getting scrapped in 1934. The photograph is of interest because it has been painted using the artist William A. Mackay's <a href="https://openvalley.org/items/show/924">"disruptive coloration" camouflage scheme.</a> It is shown here in the Philadelphia Navy Yard. New Deal Gallery artist Thomas Casilear Cole was one of Mackay's pupils and assigned to the US Navy's Bureau of Construction and Repair during 1918. Such measures were critical due to German submarine attacks, for example a June 1918 convoy that included the DeKalb. Publisher An entity responsible for making the resource available U.S. Naval History and Heritage Command Date A point or period of time associated with an event in the lifecycle of the resource 1918-02-18 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived U.S. Naval History and Heritage Command Item #NH 54662 Format The file format, physical medium, or dimensions of the resource jpeg, 956 KB Type The nature or genre of the resource Photograph Camouflage New Deal Gallery painting Thomas Casilear Cole US DeKalb US Navy William A. Mackay World War I https://openvalley.org/files/original/1645b45d6816dfbdfd716a1b285b67fe.JPG b39b4c13aa0c995f9c1721ce133fadd4 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 26 x 20 in. Condition: surface dirt, crayon or pencil marks 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 Fountain, Central Park Description An account of the resource Depicted is the landmark Bethesda Fountain located in New York City's Central Park. The fountain is adorned by a bronze statue with small figures that appear to support the winged figure. Bethesda is a biblical reference to a pool that is believed to have had healing powers, so its use for a fountain's name has great significance. The warm colors and large brush strokes give this painting a sense of importance that is associated with being in Central Park--a location not far from Zucker's home in New York. About the Artist: Born in Radom, Poland, at age thirteen Zucker ran away from home, traveling by himself to study at the Bezalel Art School in Palestine. After serving with the Royal Fusilliers of England during World War I, he spent time in the Paris art scene before immigrating to the US in 1922. Here he first worked as a maker of fine jewelry; eventually, he was successful as a painter with studios in New York and Paris. Zucker counted as influences the French Romantics Pierre-Auguste Renoir and <a href="https://en.wikipedia.org/wiki/Jean-Antoine_Watteau" target="_blank" rel="noopener">Jean-Antoine Watteau</a>, along with contemporaries <a href="https://en.wikipedia.org/wiki/Maurice_Utrillo" target="_blank" rel="noopener">Maurice Utrillo</a> and <a href="https://en.wikipedia.org/wiki/Chaim_Soutine" target="_blank" rel="noopener">Chaim Soutine</a>. He observed that, in Europe, artists know that a landscape has been painted many times, but in America “I feel liberated, unburdened by the weight of artistic precedent” (Salpeter). Zucker’s work was shown at places like the Art Institute of Chicago, the Whitney Museum, and the Cheshire Gallery, as well as the Bonaparte and Paquereau Galleries in Paris. 5 more images at the <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-49" target="_blank" rel="noopener">FAP</a>; 1 statue at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-48" target="_blank" rel="noopener">FAP</a>. Sources Consulted: Harry Salpeter, <a href="http://archive.esquire.com/article/1938/10/1/jacques-zucker-modern-romantic" target="_blank" rel="noopener">“Jacques Zucker: Modern Romantic,”</a> Esquire Oct. 1938: 59+. Dan Wolman, director, <a href="https://youtu.be/BceCvihjQ28" target="_blank" rel="noopener">Jacques Zucker: Modern Romantic</a> (film short). Creator An entity primarily responsible for making the resource Zucker, Jacques, 1900-1981 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) Serbalik, John (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 #FA18376 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 204 allocations Central Park Federal Art Project fountain Jacques Zucker New Deal Gallery new york city New York, NY https://openvalley.org/files/original/0599b1f4a3d14d934b4ae0de242b1a0c.JPG ca003be989254c7e9515a40bbd3c1742 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 18 x 22 in. Condition: surface dirt, cracked paint, flaking, stained & torn 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 Bouquet Format The file format, physical medium, or dimensions of the resource jpeg, 1 MB Description An account of the resource Against a backdrop of muted, almost murky tones in brown, green, and tan, we see a still life of flowers in an earthenware jar along with various fruits. Their colors likewise are subdued; golds, reds, and oranges are illuminated by autumnal light in this pensive composition. About the Artist: We haven’t been able to locate much reliable information about this artist. Born Sneier Zemachson in Sulwalki, Lithuania, he immigrated to Toledo, OH in 1910 and became a US citizen around 1939. He was the son of respected liturgical composer Simon Zemachson, and his brother Arnold became one in his own right while living in America; Samuel later became a caretaker and editor of their work. He studied at the National Academy of design and was awarded a prize for his still lifes in 1925. His “Still Life” was purchased by the city of Albany, NY in 1936 through the Federal Art Program. For an unexplained reason, there is 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-40" target="_blank" rel="noopener">FAP</a> in the name of his son Paul—who at that time was less than a year old. Creator An entity primarily responsible for making the resource Zemachson, Samuel, 1902-1987 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 1937-04-27 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 #FA18375 Federal Art Project New Deal Gallery painting Samuel Zemachson still life https://openvalley.org/files/original/9e5deaa3739a27a45c37fa4d550febc7.jpg ab28fa6f7feea7905fbdf6a75c881b4c 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 29.5 x 23.5 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 Small Town, NY Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1936 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography, 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 #FA18374 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 Description An account of the resource Although a train platform in the foreground bears the name “Small Town,” the frame of Yaghjian’s painting had referenced <a href="https://en.wikipedia.org/wiki/Beacon,_New_York" target="_blank" rel="noopener">Beacon, NY</a> before getting crossed out in favor of this more universal theme. We are invited to ascend a wooden stairway into a quaint town whose buildings are arrayed upon its hillside: a brick commercial building near the tracks, a church and more ornate homes higher up. Warm earthtones and green foliage predominate. Small traces of the forces that would transform such towns lurk at the corners of the painting, like telephone wires or an automobile at lower right. About the Artist: Born in Harpoot, Armenia, Yaghjian immigrated to the US with his family in 1907 and was raised in Providence, RI. He attended the Rhode Island School of Design on scholarship and received a BA in Fine Arts in 1930.  He then continued his studies with the Art Students League, where he met <a href="https://en.wikipedia.org/wiki/John_French_Sloan" target="_blank" rel="noopener">John French Sloan</a> and <a href="https://en.wikipedia.org/wiki/Stuart_Davis_(painter)" target="_blank" rel="noopener">Stuart Davis</a>, both significant influences upon his work. His work was exhibited at the Metropolitan Museum of Art, the Corcoran Gallery, the National Gallery, and many other venues; he was the subject of numerous solo shows. At the 1936 Whitney Biennial, Anita Brenner grouped him with artists like Edward Hopper and NDG artist Dorothy Varian in their use of colors that are “dominant in most American landscapes, intense, precise and small within great space and immense sky.” Some of his most important contributions came as an art teacher, initially for the Art Students League in New York (1938-1943), then briefly at the University of Missouri. In 1945 Yaghjian was hired to head the art faculty at the University of South Carolina, where he taught until retirement in 1972. He was known for painting scenes from everyday life, both in New York and in South Carolina; while he continually painted his surroundings, his style shifted throughout his career from realism to stylized abstraction to abstraction. He lived in Columbia for the rest of his life, where he still was dancing two nights a week at the age of 85. 1 work at the <a href="https://americanart.si.edu/artist/edmund-yaghjian-5506" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 1 work at the <a href="https://gibbesmuseum.pastperfectonline.com/webobject/49EFFAFD-128B-45BC-BC3B-292859903974" target="_blank" rel="noopener">Gibbs Museum of Art</a>. 1 work at the <a href="https://chrysler.emuseum.com/search/Yaghjian" target="_blank" rel="noopener">Chrysler Museum</a> of Art. 1 work at the Metropolitan Museum of Art. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-33" target="_blank" rel="noopener">FAP</a>. <a href="http://digital.tcl.sc.edu/cdm/ref/collection/savage/id/127" target="_blank" rel="noopener">Oral history interview</a> at University of South Carolina. Sources Consulted: Anita Brenner, “Younger Generation at Whitney Biennial,” Brooklyn Daily Eagle 15 Nov. 1936: 10C; South Carolina State Museum, <a href="http://www.tfaoi.org/aa/7aa/7aa926.htm" target="_blank" rel="noopener">“Edmund Yaghjian: A Retrospective”</a> (16 March-16 September, 1997). Creator An entity primarily responsible for making the resource Yaghjian, Edmund, 1903-1997 Identifier An unambiguous reference to the resource within a given context 202 Beacon, NY Edmund Yaghjian Federal Art Project Landscape Art New Deal Gallery painting