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https://openvalley.org/files/original/37e800c60cf42f4d2867be970e367906.JPG
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Deal Gallery
Description
An account of the resource
This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." <br /><br />Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame.<br /><br />Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options.
Date
A point or period of time associated with an event in the lifecycle of the resource
1935-1940
Contributor
An entity responsible for making contributions to the resource
Cooper, Ken (project director)
Ritz, Abigail (photography and project assistant)
Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee.
Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as photograph, map, drawing, painting, etc., and any additional data
Oil Painting
Physical Dimensions
The actual physical size of the original image
23 x 19 in.
Condition: surface dirt, torn, chipped and peeling 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
Boats
Description
An account of the resource
Multiple small craft boats of different shapes, sizes and colors are moored alongside a wooden dock. The water is calm enough to see a green look-out tower, the blue sky, and white clouds in its reflection. The water level, however, appears to be low. Buildings, trees, and a small town occupy the background of this piece, including a large brick church at the top of the hill. Predominantly earth-toned, including various shades of greens, browns, and reds. Two American flags and two crosses prominently stand out, suggesting patriotism and religion. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Budapest, Hungary, Candell described <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-victor-candell-12351#transcript" target="_blank" rel="noopener">in an interview</a> how, as a boy, he was attracted to movie posters; by age 15 he already was a professional graphic artist, branching out to illustrations and caricatures in theater journals. Candell immigrated to America in the aftermath of World War I and the rise of fascism—although he returned to Paris during 1928-30 so as to educate himself via paintings (he called Cezanne and Degas “my teachers”). At that point Candell thought of himself as a cubist, the transiton from illustrator to painter influenced by Cezanne’s “direct contact with nature, still-life, figure, and all the rest of it, not on the academic level but on the level of just being confronted not so much with the idea or concepts of space or style but concrete reality and learn from it. This was my understanding that the great men had this as a kind of ante chamber to their main work” (“Oral History”). Candell immersed himself in self-guided study for 15 years, finally offering his first show at age 43. He was involved with the Whitney Studio project during the early 1930s and joined the Federal Art Project near its inception. In 1939, he contributed the political cartoon <a href="http://ufdc.ufl.edu/WOLF004747/00001/6j" target="_blank" rel="noopener">“That’s My Meat!”</a> to a pamphlet entitled <em>12 Cartoons Defending the WPA by Members of the American Artists Congress</em>. His work was shown at the Whitney Museum of American Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Corcoran Gallery in Washington, D.C., and the Carnegie Institute. A respected teacher, Candell began this phase of his life teaching art to traumatized veterans at the Brooklyn Navy Hospital; in 1958, he and Leo Manso started the Provincetown Workshop—an art school modeled after the Cooper Union. Candell received numerous awards for his art work, including prizes from the Museum of Modern Art and the Unites States Treasury Department, the Emily Lowe Award, the Lamont Prize, and the Audubon and Silvermine Awards. 1 work at the <a href="http://collection.whitney.org/object/1551" target="_blank" rel="noopener">Whitney Museum of American Art</a>. 1 work at the <a href="https://www.metmuseum.org/art/collection/search/488885?searchField=All&amp;sortBy=relevance&amp;ft=candell&amp;offset=0&amp;rpp=20&amp;pos=1" target="_blank" rel="noopener">Metropolitan Museum of Art</a>. 1 work at <a href="https://www.paam.org/collection/candell-1431-pa97/" target="_blank" rel="noopener">Provincetown Art Association and Museum</a>. 60 images at <a href="http://www.nutshellarts.com/victor_candell.htm" target="_blank" rel="noopener">Nutshell Arts Center</a>. His papers are at <a href="https://library.syr.edu/digital/guides/c/candell_v.htm" target="_blank" rel="noopener">Syracuse Univesity</a>.
Creator
An entity primarily responsible for making the resource
Candell, Victor, 1903-1977
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
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photographer)
Caldwell, Julia (biography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Art
Object #FA18128
Format
The file format, physical medium, or dimensions of the resource
jpeg, 838 KB
jpeg, 9.7 MB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
038
Federal Art Project
New Deal Gallery
painting
Victor Candell