1
10
2
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https://openvalley.org/files/original/a7e23aaabe1c5df616c4afc488c4fda7.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
Gouache painting
Physical Dimensions
The actual physical size of the original image
10 x 16 in
Condition: good, may have to be remounted
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 Deer
Creator
An entity primarily responsible for making the resource
Karlan, Gertrude, 1901-1998
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)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18189
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1 MB
jpeg, 12.5 MB
Description
An account of the resource
We see at close range a female of <em>Odocoileus virginianus</em>, also known as white-tailed deer. Their range encompasses most of the United States, and they are the most numerous of that family here. Karlan’s painting depends less upon its anatomical accuracy than the proximity at which we view a living Virginia deer; her effect is that of extending a short, but unforgettable, moment of beholding one in the wild before the deer raises its white tail in alarm, and then is gone.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Born in New York, from a young age Karlan’s artistic endeavors cut across different forms. In the early 1920s her orchestral compositions were performed at New York’s Third Street Music School Settlement; by 1931 she was composing (and playing) avant-garde pieces written for Léon Theramin’s new electronic instrument in collaboration with modern dancer <a href="https://en.wikipedia.org/wiki/Sophia_Delza" target="_blank" rel="noopener">Sophia Delza</a>. Meanwhile she was, according to a 1927 news feature, one of the few women silversmiths in America and thinking of the decorative arts in terms of self-expression: “The rudest tribes and the most luxurious civilizations realized this fact. It is by their jewelry that we know them” (Gross). She was mentioned in Rockwell Kent’s influential <em>Creative Art </em>magazine, and <a href="https://openvalley.org/files/original/8f2649f799e1765c9834c91634321ea6.jpg" target="_blank" rel="noopener">several of her pieces</a> were selected for the Musuem of Modern Art’s 1946 show <a href="https://www.moma.org/calendar/exhibitions/3195?locale=en" target="_blank" rel="noopener">“Modern Handmade Jewelry”</a>. 1 work at the <a href="http://collections.madmuseum.org/objects/1354/necklace-and-earrings?ctx=3f2cd284-525f-4a8b-ac16-0e30e3b8ea93&idx=0" target="_blank" rel="noopener">Museum of Arts and Design</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-12-folder-18" target="_blank" rel="noopener">FAP</a>.<br />
<p><span style="text-decoration: underline;">Source Consulted</span>: Pearl Gross / Universal Service, “Barbaric Gems in Favor,” <em>San Francisco Examiner</em> 30 Oct. 1927: 42.</p>
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
096
Federal Art Project
Gertrude Karlan
nature
New Deal Gallery
painting
-
https://openvalley.org/files/original/87bfee6aec83430d1cead5b825c20056.JPG
9e0c632181ab586d283b09230b81244c
https://openvalley.org/files/original/192a4424ee47c9eed1f5341dd5492434.JPG
fdb10b7e8b25d51501cfd42460c85c89
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
13.5 x 29.5
Condition: 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
Peonies
Description
An account of the resource
This oil on canvas still-life features a modestly decorated table. The primary object, the vase of overflowing peonies, demands our attention. A few, smaller objects also adorn this table such as small candles, a looking glass, and a gold statue. At first glance, it is easy to miss the oversized plate that sits like a shadow behind the peonies. It takes on a natural personality, such as a full moon, especially when juxtaposed behind bright and delicate flowers. There is a balance between natural and man-made objects in this piece, an arrangement of flowers from the outdoors complements the craftsmanship of the statue or the plate. This is a celebration of the domestic sphere, balancing unpredictable nature with human ability. <br /><br /><span style="text-decoration: underline;">About the Artist: </span>Born in Dresden, Germany, Schiff immigrated to the US in 1915 with her mother Lydia and father Jacob, a portrait painter. Her formative years were spent in Chicago, where she received training from her father and was featured at the Art Institute of Chicago in 1934. Her work also was exhibited by the Hadassah women’s Zionist organization of that city. Shortly thereafter, perhaps in 1935, Schiff moved to New York and took classes at the Art Students League, meanwhile showing her work at the Washington Square Outdoor Art Exhibit. Although her paintings at the New Deal Gallery collection consist of still lifes, Schiff took great pleasure in portraiture; at a 1941 show she sketched visitors to her own exhibit and then displayed them on the walls (“Art Show”). The physicist Albert Einstein was a subject of her sketching. In 1943 she married James Vrettos, then moved to Colorado in 1956. Schiff’s work took a turn toward more chimerical subject matter, described by gallery director Simon Zalkind as tableaux of paper-doll characters: “Schiff's women, alternately alluring, playful and coy are always being seen. Figuratively and often literally, they are ‘on stage’. As Schiff's work evolves through the decades her women progressively lose the appearance of physical solidity, acquiring instead cartoon-like curves and contours. Bodies are flattened and appear to float weightlessly.” Her son recalls that Schiff “remained a loving, joyous, positively spirited person until the end of her life—true to her name Luba—Luboff in Russian meaning love.” 3 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-20-folder-32">FAP</a>.<span style="text-decoration: underline;"></span>
<p><u>Sources Consulted</u>: “Art Show Continues,” Gloverville<em> Morning Herald</em> 8 May 1941: 20. For additional information, a special thanks to Schiff’s son James Vrettos.</p>
Creator
An entity primarily responsible for making the resource
Schiff, Luba, 1912-2007
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
Ritz, Abigail (photography)
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 #FA18265
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1 MB
jpeg, 12 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
172
Federal Art Project
flowers
Luba Schiff
nature
New Deal Gallery
still life