1 10 3 https://openvalley.org/files/original/a8582dc9c5a94e567cb97704be638e7f.jpg 27d0eb98e275e8a245160cb4fdcbbe5e https://openvalley.org/files/original/3d418cb836364c98246c95979cd05de1.JPG 1177ae30c63f71bec523cec4b9b5a24a 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 23.5 x 19.5 in. Condition: slightly torn, 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 Long Island Farm Creator An entity primarily responsible for making the resource Cheney, Philip Loring, 1897-1992 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 Abigail Ritz (photography) Elana Evenden (biography) Ken Cooper (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18131 Format The file format, physical medium, or dimensions of the resource jpeg, 898 KB jpeg, 10.8 MB Description An account of the resource This landscape illuminates the life of farmers working in Long Island, New York. The painting represents a time period when suburbia begins to emerge, as viewers can see the juxtaposition between the cityscape in the background and the simplicity of the farming. Cheney uses an impressionist style to show the farmers working in the foreground, their cultivated land in the middle and the cityscape in the back. The painter demonstrates his formal training by his use of atmospheric perspective, our view becoming blurrier the farther we look into the distance. Looking more closely, we see brush strokes used to paint in a muddled yet meticulous way. Cheney's style of painting may have been influenced by the impressionist movement in Europe. About the Artist: Born in Brookline, MA, Cheney attended Harvard University, where he trained with the Harvard ROTC.<a href="https://archive.org/stream/NewEnglandaviatVol2Tick#page/320/mode/1up/" target="_blank" rel="noopener"> During 1918-19</a> he enlisted as a pilot specializing in aerial navigation, a background that seems to have influenced his art’s sometimes creative vantage points. Most of Cheney’s work was in lithography, often of western landscapes. He exhibited at the Pennsylvania Academy of Fine Arts, City Art Museum of St. Louis, National Academy of Design, Los Angeles Museum, Paris Salon, and the Society of Independent Artists. In 1940 his lithograph “Winter Afternoon” was chosen to represent Vermont in the traveling exhibit<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015020224583;view=1up;seq=3" target="_blank" rel="noopener"> “Contemporary Art of the United States,”</a> which included contributions by artists Grant Wood, Georgia O’Keefe and N. C. Wyeth. 10 works at the <a href="https://www.nga.gov/collection/artist-info.3743.html" target="_blank" rel="noopener">National Gallery of Art</a>. 7 works at<a href="https://art.famsf.org/philip-cheney" target="_blank" rel="noopener"> Fine Arts Museums of San Francisco</a>. 1 work at<a href="https://www.dia.org/art/collection?artist%5B0%5D=69053" target="_blank" rel="noopener"> Detroit Institute of Arts</a>. 1 work at<a href="https://pafaarchives.omeka.net/items/show/40056" target="_blank" rel="noopener"> Pennsylvania Academy of Fine Arts</a>. 2 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-27" target="_blank" rel="noopener"> FAP</a> Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 041 Federal Art Project Long Island New Deal Gallery painting Philip Cheney https://openvalley.org/files/original/1eb82bddf2a548a4ed13ff45e3d57733.jpg 3a40ef2859bfacb7c9569ad8c70ac08e https://openvalley.org/files/original/90657b8e3ef4d1425523ad4c8c7656c7.JPG a3fd29489d7ec7265785a73db7b480aa 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 23.5 x 19.5 in. Condition: paint slightly chipped 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 Rocky Mountain Highway Description An account of the resource It's likely that Cheney's painting depicts the <a href="https://openvalley.org/items/show/1445" target="_blank" rel="noopener">Virginia Canyon Road</a> near Idaho Springs, Colorado, also known as the "Oh My God Highway" for its hairpin turns and precipitous cliffs. It had been created in the 1800s to access dozens of gold mines in the area; three of those mine shafts (and their tailings) can be seen in an idealized red. Mountains emerge in the distance, creating the perspective of a viewer standing upon a hill overlooking the landscape. The addition of roads throughout the mountain dates to a time when transportation was becoming a vital part of American society. The painting’s impressionist style and proper use of perspective illuminate the artist’s academic training. If one looks closely, one may see the brush strokes used to paint in a muddled yet meticulous way. The style of painting may have easily been influenced by the previous impressionist movement in Europe. Cheney's use of greens and his ability to paint shadows gives viewers a truly natural and realistic portrayal of a mountainous landscape. About the Artist: Born in Brookline, MA, Cheney attended Harvard University, where he trained with the Harvard ROTC.<a href="https://archive.org/stream/NewEnglandaviatVol2Tick#page/320/mode/1up/" target="_blank" rel="noopener"> During 1918-19</a> he enlisted as a pilot specializing in aerial navigation, a background that seems to have influenced his art’s sometimes creative vantage points. Most of Cheney’s work was in lithography, often of western landscapes. He exhibited at the Pennsylvania Academy of Fine Arts, City Art Museum of St. Louis, National Academy of Design, Los Angeles Museum, Paris Salon, and the Society of Independent Artists. In 1940 his lithograph “Winter Afternoon” was chosen to represent Vermont in the traveling exhibit<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015020224583;view=1up;seq=3" target="_blank" rel="noopener"> “Contemporary Art of the United States,”</a> which included contributions by artists Grant Wood, Georgia O’Keefe and N. C. Wyeth. 10 works at the<a href="https://www.nga.gov/collection/artist-info.3743.html" target="_blank" rel="noopener"> National Gallery of Art</a>. 7 works at<a href="https://art.famsf.org/philip-cheney" target="_blank" rel="noopener"> Fine Arts Museums of San Francisco</a>. 1 work at<a href="https://www.dia.org/art/collection?artist%5B0%5D=69053" target="_blank" rel="noopener"> Detroit Institute of Arts</a>. 1 work at<a href="https://pafaarchives.omeka.net/items/show/40056" target="_blank" rel="noopener"> Pennsylvania Academy of Fine Arts</a>. 2 more images at<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-4-folder-27" target="_blank" rel="noopener"> FAP</a>. Creator An entity primarily responsible for making the resource Cheney, Philip Loring, 1897-1992 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 #FA18132 Format The file format, physical medium, or dimensions of the resource jpeg, 692 KB jpeg, 10 MB Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 042 Federal Art Project New Deal Gallery painting Philip Cheney https://openvalley.org/files/original/1854e2d46b7c2b116215003584dee2bb.jpg d9aab48afe437f7a6777c942e6b1d78e https://openvalley.org/files/original/cf123b955e857226ce2918c502a7b9fd.jpg a7c6e3d0a4f284c6cd396c51be582619 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 Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5.5 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 Virginia Canyon Highway, Colorado Description An account of the resource Unofficially known as the "Oh My God" Road, this winding route was created to service silver mines, some of which are visible in the postcard view. It's of interest because this location probably was the basis for New Deal Gallery artist Philip Cheney's painting <a href="https://openvalley.org/items/show/1098" target="_blank" rel="noopener">Rocky Mountain Highway</a>--which probably overstates the amenites of this track without guardrails or other amenities. Creator An entity primarily responsible for making the resource Patterson, C. C. Publisher An entity responsible for making the resource available Patterson Distributing Co. H.S. Crocker Co. Date A point or period of time associated with an event in the lifecycle of the resource 1940-1960 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 852 KB jpeg, 399 KB Type The nature or genre of the resource Still image Mining Philip Cheney Post Card