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<p>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. <br /><br /><span style="text-decoration: underline;">About the Artist:</span> 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 (<em>Kingston Daily Freeman</em> 30 July 1936: 7). His “Under Sea Life” was at the Jones Beach Pavillion, and he created several for Wells College, Aurora NY.</p>
Ward, Edgar Melville, Jr., 1887-1943
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<p>The Old North Church towers over a dismal, darkened street. A break of sunlight gradually illuminates the peaks of the buildings, sidewalk near the church, and the almost nonvisible side of the church’s steeple. There is a hazy quality to the painting; it blurs the figures moving down the road, who appear to be shadowy splotches blending in with the sidewalks and cold, bland buildings. Each structure is simple; the only discernible details are the spires, lantern, and belfry of the steeple.<span style="text-decoration: underline;"><span class="Apple-converted-space"> <br /><br /></span>About the Artist</span>: Born in Staatsburg-on-Hudson, NY, Cole was named after two renowned painters of the Hudson River School: <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">Thomas Cole </a>(1801-1848) and <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">John William Casilear</a> (1811-1893). He attended school at the Riverview Military Academy in Poughkeepsie, NY (1900-04) and Harvard University (1905) before turning his attention to painting studied at the School of the Museum of Fine Arts, Boston (1905-11) and Académie Julian, Paris (1912). In 1909, he published a history in <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924065572145;view=1up;seq=357" target="_blank" rel="noopener"><em>New England Magazine </em></a>on Old St. Mary’s Church at Newton’s Lower Falls, illustrated by his own paintings. Cole served in the US Navy between 1917 and 1919, and beginning in May 1918 worked under William Andrew Mackay in a special unit for the <a href="http://www.bobolinkbooks.com/Camoupedia/DazzleCamouflage/download/sciencecamouexplained.pdf" target="_blank" rel="noopener">camouflage </a>of ships and submarines at the Bureau of Construction and Repair. During the final eight months of World War I, more than 1,200 US ships were painted with so-called <a href="https://openvalley.org/items/show/924" target="_blank" rel="noopener">“disruptive coloration”</a>. After the war, he showed his talents at a Knoedler Gallery exhibition of Allied Commander portraits, Cole’s praised as “having a personality all their own with the dark rich coloring in the figures and the well-modeled faces contrasted against the dark background” (<em>Brooklyn Daily Eagle </em>19 Oct. 1919: 77). He went on to exhibit his work widely, including the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. A reviewer of his 1927 exhibition of 33 portraits at Ainslee Gallery wrote: “In all cases the portraits are distinguished by a sincerity and a happy achievement of the most difficult of all painters’ problems, that of satisfying both sitter and himself (<em>Brooklyn Daily Eagle </em>13 Feb. 1927: 59). Cole became so well-known for his portraits that he was often commissioned to paint public and historical figures like President James K. Polk. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/thomas-casilear-cole-papers-7229" target="_blank" rel="noopener">Archives of American Art</a>.</p>
Cole, Thomas Casilear, 1888-1976
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<p>A portrait of a woman looks off, away from a light source igniting the glaze on the canvas, casting a white glow across the surface: below her sits a still life layout of like-colored objects. In the shadow rests a cut-open orange sitting on the stem of a tulip of a similar hue. Beside it is an off-white bowl, holding unidentifiable fruits.<span class="Apple-converted-space"> <br /></span></p>
<span style="text-decoration: underline;">About the Artist</span>: Born in Staatsburg-on-Hudson, NY, Cole was named after two renowned painters of the Hudson River School: <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">Thomas Cole </a>(1801-1848) and <a href="https://en.wikipedia.org/wiki/John_William_Casilear" target="_blank" rel="noopener">John William Casilear</a> (1811-1893). He attended school at the Riverview Military Academy in Poughkeepsie, NY (1900-04) and Harvard University (1905) before turning his attention to painting studied at the School of the Museum of Fine Arts, Boston (1905-11) and Académie Julian, Paris (1912). In 1909, he published a history in <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924065572145;view=1up;seq=357" target="_blank" rel="noopener"><em>New England Magazine </em></a>on Old St. Mary’s Church at Newton’s Lower Falls, illustrated by his own paintings. Cole served in the US Navy between 1917 and 1919, and beginning in May 1918 worked under William Andrew Mackay in a special unit for the <a href="http://www.bobolinkbooks.com/Camoupedia/DazzleCamouflage/download/sciencecamouexplained.pdf" target="_blank" rel="noopener">camouflage </a>of ships and submarines at the Bureau of Construction and Repair. During the final eight months of World War I, more than 1,200 US ships were painted with so-called <a href="https://openvalley.org/items/show/924" target="_blank" rel="noopener">“disruptive coloration”</a>. After the war, he showed his talents at a Knoedler Gallery exhibition of Allied Commander portraits, Cole’s praised as “having a personality all their own with the dark rich coloring in the figures and the well-modeled faces contrasted against the dark background” (<em>Brooklyn Daily Eagle </em>19 Oct. 1919: 77). He went on to exhibit his work widely, including the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. A reviewer of his 1927 exhibition of 33 portraits at Ainslee Gallery wrote: “In all cases the portraits are distinguished by a sincerity and a happy achievement of the most difficult of all painters’ problems, that of satisfying both sitter and himself (<em>Brooklyn Daily Eagle </em>13 Feb. 1927: 59). Cole became so well-known for his portraits that he was often commissioned to paint public and historical figures like President James K. Polk. 13 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-39" target="_blank" rel="noopener">FAP</a>. His papers are at the <a href="https://www.aaa.si.edu/collections/thomas-casilear-cole-papers-7229" target="_blank" rel="noopener">Archives of American Art</a>.
Cole, Thomas Casilear, 1888-1976
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Against New York's skyline in the background, people relax in boats upon a body of water. The colors are cooler, with lots of dark and bright greens, and also lots of blues. The boaters are painted in warmer colors, along with red, to make them stand out more. Abernathy's brushstrokes are thick and heavy, giving this painting a rough texture. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, 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 (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>.
Abernathy, Inez, 1873-1956
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We see a river flowing between two banks lined with trees. The trees are mostly bare however, they appear as they are going to start budding. The colors in this painting are cooler--blues and greens--but there is a hint of warm yellow in the lower left corner. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, 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 (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a>.
Abernathy, Inez, 1873-1956
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<p>Completed in 1848 as part of the Croton Aqueduct System, this structure originally spanned the Harlem River using 16 stone arches (later replaced by steel). At the time of Jacoby's painting, some 24 million gallons of water were passing over it every day.<br /><br />We haven’t located much reliable information about this artist. His work was exhibited at the Municipal Art Committee (1937). Judging from the locations of his paintings Jacoby seems to have lived in or near New York City. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-42">FAP</a>.</p>
Jacoby, Samuel
<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-11-folder-42" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 11, Folder 42.</a>
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Oil painting of Greenich Village nightlife location dismissed by a Federal Writers Project description as "an uninteresting hodgepodge of buildings of varying sizes and ages, suggesting little of the charm that lies beyond its limits." In 1982, a small park was incorporated into this space.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Italy, Mira immigrated to the US in 1904. He attended the Art Students League, the Beaux Arts School, and the National Academy of Design, where he studied with <a href="https://americanart.si.edu/artist/ivan-g-olinsky-3620" target="_blank" rel="noopener">Ivan Olinsky</a>; his works were exhibited at several Corcoran Museum biennials. As a young man of twenty-two, Mira and a fellow artist named Joseph Perna planned to hitchhike across the United States, painting pictures as they went. They paused in Gettysburg, PA, to paint several battlefield landscapes (<em>Gettysburg Times </em>10 June 1922: 2), and then Mira was invited by one driver to paint a portrait of his parents in Detroit. “After a few months,” Mira recollected, “I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him.” Returning to New York, Mira was best known for his cityscapes of lower Manhattan and capturing “the way busy people see it...None of those breath-taking shots cameramen contrive of towers and infinity, which no New Yorker sees in actuality” (<em>Los Angeles Times </em>31 Jan. 1943: 35). 18 more images at <a href="https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=11180" target="_blank" rel="noopener"><em>The Athenaeum</em></a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19">FAP</a>.
<p>Sources Consulted: Archives of askART, including information courtesy of Brian Roughton Galleries.</p>
Mira, Alfred S., 1900-1981
<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-19" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 16, Folder 19.</a>
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Nearby to many of New York's factories, power plants, and slaughterhouses, there's an obvious social ecology to Myers' choice of location. It's possible that the photographic of this painting may have mis-titled it, given frequent references to a Junk Shop.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Petersburg, VA, and traveling to New York City at age eighteen, Myers knew poverty at first hand. He took art classes when he was able at the Art Students League and Cooper Union, but was largely self-taught and perhaps motivated more by a desire to render the city honestly—an aesthetic that had much in common with the so-called “Ashcan School” of American realism of the early twentieth century. But Myers’ own familiarity with the working class, wrote Harry Wickey, meant that his subject matter “was approached from the standpoint neither of the artist, tourist, or one who was out to expose the conditions under which these people lived. He sought out the life these quarters had to offer and it transformed itself into a thing of beauty as it passed through him” (<a href="https://archive.org/stream/jeromemyersmemor00whit#page/n1" target="_blank" rel="noopener"><em>Jerome Myers Memorial Exhibition </em>3</a>). Widespread fame eluded Myers during his lifetime, but his paintings are held by dozens of museums, among them: 9 works at <a href="https://americanart.si.edu/artist/jerome-myers-3479" target="_blank" rel="noopener">Smithsonian American Art Museum</a>; 11 works at <a href="https://www.metmuseum.org/art/collection/search#!?q=%22jerome%20myers%22&perPage=20&searchField=All&sortBy=relevance&offset=0&pageSize=0" target="_blank" rel="noopener">Metropolitan Museum of Art</a>; 20 works at <a href="https://www.brooklynmuseum.org/opencollection/artists/193/objects" target="_blank" rel="noopener">Brooklyn Museum</a>; 1 work at <a href="https://www.dia.org/art/collection/object/childrens-theatre-55265" target="_blank" rel="noopener">Detroit Institute of Arts</a>; 1 work at the <a href="https://www.corcoran.org/collection/life-east-side" target="_blank" rel="noopener">Corcoran Collection</a>; 13 works at <a href="https://www.the-athenaeum.org/art/list.php?m=o&s=du&oid=1.&f=a&fa=1885" target="_blank" rel="noopener">The Athenaeum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">FAP</a>.
Myers, Jerome, 1867-1940
<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-16-folder-43" target="_blank" rel="noopener">Archives of American Art, Federal Art Project, Photographic Division, Box 16, Folder 43.</a>
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