1
10
2
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https://openvalley.org/files/original/74218e1c7b4b9be1f1bf0606ad1329d9.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
20 x 24 in.
Condition: pin holes, surface dirt, stains
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
Straw Flowers
Description
An account of the resource
A slanted table has a vase filled with dried flowers ranging from colors of orange, yellow, purple and one single white flower. Behind the vase is a heavier fabric draping around all the objects on the table. The objects include a goblet swaddled in the fabric to the left of the vase, a book in front of the vase and a bowl of pears and grapes to the left of the vase. The warm colors and the focus of the flowers in the middle of the painting make the painting feel autumnal. Which leads to the feeling that the flowers symbolize the end of autumn and the beginning of winter as the flowers seem to have been collected and dried and therefore been in the vase for a while.<br /><br /><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener"><span style="font-weight: 400;"><span style="text-decoration: underline;">About the Artist</span>: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with </span></a><a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s <em>Penrod</em> at the Irene Kaufmann Settlement theater; (<em>Pittsburgh Daily Post </em>22 May 1918: 7; <em>Pittsburgh Press</em> 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in <em>A Double Life</em>—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>.
<p><u>Sources Consulted</u>: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” <em>Pittsburgh Press</em> 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” <em>Los Angelest Times</em> 18 July 1948: 56.</p>
Creator
An entity primarily responsible for making the resource
Shulgold, William, <span style="font-weight: 400;">1897-1989</span>
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)
Ramsay, Elizabeth (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 #: FA18270
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
177
Format
The file format, physical medium, or dimensions of the resource
jpeg, 969 KB
jpeg, 10.6 MB
Federal Art Project
New Deal Gallery
painting
still life
William Shulgold
-
https://openvalley.org/files/original/b4115b3a5bcfa1616ccb03f922ed0be0.JPG
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https://openvalley.org/files/original/860eaa0fd40aeb67a2ec9ecb5b707e4d.JPG
93d52b0b45eee4ab5d387e53ee404994
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
20 x 24 in.
Condition: spotted, written on
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 Jersey Farm
Creator
An entity primarily responsible for making the resource
Shulgold, William 1897-1989
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)
Jackson, Madison (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 #FA18269
Type
The nature or genre of the resource
Still Image
Format
The file format, physical medium, or dimensions of the resource
jpeg, 993 KB
jpeg, 10.7 MB
Description
An account of the resource
New Jersey Farm: A small, somewhat run-down farm is surrounded by trees and encroaching vegetation. There is a smoke stack in the background, indicating industrial transformations to area farmland. The painting’s earthy colors are somewhat tonal and sun-bleached; red and green tones provide the main contrast. Despite its beauty thhere seems to be a feeling of emptiness captured in this piece.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with <a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s <em>Penrod</em> at the Irene Kaufmann Settlement theater; (<em>Pittsburgh Daily Post </em>22 May 1918: 7; <em>Pittsburgh Press</em> 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in <em>A Double Life</em>—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>.
<p><u>Sources Consulted</u>: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” <em>Pittsburgh Press</em> 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” <em>Los Angelest Times</em> 18 July 1948: 56.</p>
Identifier
An unambiguous reference to the resource within a given context
176
Federal Art Project
New Deal
New Deal Gallery
Oil on Canvas
painting
William Shulgold