1
10
64
-
https://openvalley.org/files/original/6c32b83d659f45b0cc10c8d1e313dfdb.jpg
a8c949914e6e4eeaed3a24e01f822e3c
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
30 x 24 in.
Condition: small tear, 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
Apples
Description
An account of the resource
We look upon a remarkably minimalist still life--sixteen apples upon a wooden board or table--but by the time of Adler's painting they were highly charged objects due to the thousands of minimally employed apple vendors on New York streets during the Great Depression. Keeping this in mind, we see an insistence upon each apple being represented individually, and for that matter each row of wood laminated into the wooden board. Adler's light and colors are direct, with very little shadow.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in New York, Adler was the son of Russian immigrants—his father a dressmaker and eventual NDG artist Joseph Adler. Fred studied two years at National Academy of Design, then two more at the Art Students League with <a href="https://en.wikipedia.org/wiki/Raphael_Soyer" target="_blank" rel="noopener">Raphael Soyer</a>. At age twenty he was employed by the Federal Art Project and assigned to a Civilian Conservation Corps project in Milford, IA where he “sketch[ed] characteristic moments in camp life” (<em>Milford Mail</em> 6 Sept 1934: 2). In 1940 his “Still Life With Herring” was selected for a Musuem of Modern Art traveling exhibition called <a href="https://www.moma.org/calendar/exhibitions/2979?locale=en" target="_blank" rel="noopener">“35 Under 35.”</a> Along with NDG artists Herman Copen and Ben Delman, Adler’s painting “Avenue C market” was included in a 1941 show focused upon “Market Scenes,” and held at the USDA’s Surplus Marketing Department in New York. 1 painting at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-8" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 8 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Adler, Fred[erick M], 1914-2012
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
1937-10-20
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 #FA18099
Format
The file format, physical medium, or dimensions of the resource
jpeg, 1.1 MB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
009
Civilian Conservation Corps
Federal Art Project
Fred Adler
Joseph Adler
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/9c23757b8e10322f4c8abb74ea9564d2.jpg
c02b1809681c2276f170d27b25b8e9ee
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
16 x 20 in.
Condition: cracking paint, crayon marks
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
Still Life in Red and Blue
Creator
An entity primarily responsible for making the resource
Adler, Joseph Louis, 1895-1975
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
1937-04-27
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 #FA18100
Format
The file format, physical medium, or dimensions of the resource
jpeg, 795 KB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
010
Description
An account of the resource
A simple grouping of teapot, cup and spoon, cherries and an orange becomes an exploration of color and form thanks to Adler's gauzy rendering. Neutral backgrounds of brown and tan set apart small placements of red and blue; a painting upon the wall echoes those two colors in more explicitly geometric forms.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: We haven’t located much reliable information about this artist. Born in Poltava, Russia (modern-day Ukraine) as Joseph Zaganchinsky, Adler immigrated to the US in 1907. Census records show him to have been a dressmaker, but obviously he seems to have painted as well. He was the father of NDG artist Fred Adler. 6 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-9" target="_blank" rel="noopener">FAP</a>.
Federal Art Project
Fred Adler
Joseph Adler
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/04bf3d1d9f163006380e891f7d8e40a1.jpg
01cdea5ca2edddeee3f1d8ae2200e4a2
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: 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
Three Roses
Description
An account of the resource
A hilly landscape sets a picturesque scene of three vibrantly colored roses, placed in an ornate ceramic vase. Seemingly supported by a small black table, the vase and the roses overlook a hilly landscape with green grass and a bright blue lake. The sky behind it is a calming blue grey that contrasts sharply with the dark black table. The crisp edges of the table are also in contrast with the rolling hills, and the curved nature of the roses, including the rounded design of vase and how it is decorated. The combination of a clear sky, and pastel colors of pink, blue, green, and tan have a calming effect on the eye. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>.
Creator
An entity primarily responsible for making the resource
Alger, John [Hebert], 1879-1967
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 (photographer)
McCrohan, Niamh (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 #FA18106
Format
The file format, physical medium, or dimensions of the resource
jpeg, 801 KB
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
016
Federal Art Project
John Alger
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/a9bc290ce6221e259e21a943f85f2567.jpg
6b672f3213274580a73b6bc41b5edbf6
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
19.5 x 15.5 in.
Condition: canvas stained, 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
St. Ann's Chapel
Description
An account of the resource
<span>We see a small chapel with terra cotta roof and a small bell. The only spots of color are the red roof tiles and the teal of bricks aroud the door. The rest of the painting is bleached, faded to hues of pale beige and blue. The door inside, framed by both the only vibrant blue in the painting, and by the circular arch of the chapel's portico, is made the focus of the painting. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>. </span>
Creator
An entity primarily responsible for making the resource
Alger, John [Herbert], 1879-1967
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
Source
A related resource from which the described resource is derived
New Deal Gallery, Genesee Valley Council on the Arts
Object #FA18013
Format
The file format, physical medium, or dimensions of the resource
jpeg, 556 KB
Type
The nature or genre of the resource
Still Image
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Vanamee, Nicholas (biography)
Cooper, Ken (biography)
1930s
Federal Art Project
John Alger
New Deal Gallery
St. Ann's Chapel
still life
-
https://openvalley.org/files/original/40753efdb7caacca28071577ff56fd08.jpg
e59e5ef16670c244b92548356bfe23ab
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: tack marks, 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
Dahlias
Description
An account of the resource
Alger's painting here depicts a lovely still life of a flowery plant which gives off a warm vibe with with its relatively light colors. Green and light red are the prominent colors in this illustration of a species closely related to sunflowers. Circling around the pinkish flower are green leaves, painted with in a realistic style.
<p><span style="text-decoration: underline;">About the</span> Artist: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16" target="_blank" rel="noopener">FAP</a>.</p>
Creator
An entity primarily responsible for making the resource
Alger, John [Herbert], 1879-1967
Publisher
An entity responsible for making the resource available
Federal Art Project
Contributor
An entity responsible for making contributions to the resource
Ritz, Abigail (photography)
Bang, Jay (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 #FA18108
Type
The nature or genre of the resource
Still Image
Date
A point or period of time associated with an event in the lifecycle of the resource
1937-03-09
Format
The file format, physical medium, or dimensions of the resource
jpeg, 797 KB
Identifier
An unambiguous reference to the resource within a given context
018
Federal Art Project
John Alger
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/c1ccb49d016759ccd82ad2e41f30bb1a.jpg
da2c4029cae465e78025c0851d2b76ab
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
16 x 20 in.
Condition: surface dirt, cracked 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
Bouquet With Lilies
Format
The file format, physical medium, or dimensions of the resource
jpeg, 800 KB
Description
An account of the resource
<p>Six spotted lilies are surrounded by snapdragons, zinnias, and an incongruous “Radio” calendula. This latter flower, along with the lily stamens, appear to have been chosen for their delicate pointed shapes. Most of Alger’s still live is painted in cool grays and pinks, with splashes of hot yellows and orange.</p>
<span style="text-decoration: underline;">About the Artist</span>: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Alger, John [Herbert], 1879-1967
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 #FA18105
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
015
Federal Art Project
John Alger
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/b055b391edcc54322b38ce151e7078e4.jpg
ac260e7176504964071c1135a8f6665e
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
16 x 19.5 in.
Condition: slightly chipped, paint thinning
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
Chrysanthemums
Description
An account of the resource
Alger paints a beautiful bouquet of pink, red and yellow chrysanthemums in a yellow vase. What strikes you immediately is the balance of his painting, the chrysanthemums rising symmetrically to fill the frame, their leaves drooping down to further balance the frame and fill negative space. The colors, too, are congruous: vibrant reds and fuchsias of the chrysanthemums are complemented by softer yellows of their discs and the vase; lush greens are contrasted by the dry brown of dying leaves. Alger's brushwork is visible enough to be striking, but he blends enough that the strokes are soft on the eye. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (<em>New York Tribune </em>18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (<em>Brooklyn Daily Eagle </em>7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-16">FAP</a>.
Creator
An entity primarily responsible for making the resource
Alger, John, 1879-1967
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
Abigail Ritz (photography)
Nicholas Vanamee (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 #FA18104
Format
The file format, physical medium, or dimensions of the resource
jpge, 720 KB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
014
Chrysanthemums
Depression Era Art
Federal Art Project
John Alger
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/16d464a0152be0d3de3c302fde63ac8a.jpg
da54fca17044ec4458fab85f1718f40e
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
18.25 x 21.25 in.
Condition: peeling, small rip
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
The Checkerboard Cloth
Format
The file format, physical medium, or dimensions of the resource
jpeg, 859 KB
Description
An account of the resource
Not rendered with perfectly accurate optics, Archer’s still life nevertheless is a creative study in perspective and visual planes. Upon a table covered by the eponymous checkboard-patterned cloth, a crystal decanter and copper teapot sit incongruously next to each other. They are doubled in a mirror, complicated by its beveled edge and angled walls “behind” our point of view; viewer and painter alike have been effaced from the reflections.<span style="text-decoration: underline;"><br /><br />About the Artist</span>: Archer grew up in Sea Cliff, NY, received his training at Yale University School of Fine Arts, and then worked in New York City during the 1930s as a commercial artist, placing works in publications like the <a href="https://www.saturdayeveningpost.com/artworks/?artwork-artist=robert-p-archer&artwork-year=&artwork-theme=" target="_blank" rel="noopener"><em>Saturday Evening Post</em></a>, <em>Colliers, </em>and <em>This Week</em>. Archer’s painting “Approaching Storm” was selected for two traveling exhibitions sponsored by the Museum of Modern Art: “Mystery and Sentiment” in 1940, and then <a href="https://www.moma.org/documents/moma_catalogue_2903_300061995.pdf" target="_blank" rel="noopener">“Romantic Painting in America”</a> (1943-1944). During World War II, he was Art Director of the Army Education Program in the Philippines. After the war Archer, along with the marine artist Charles J. Lundgren, opened a studio in Roslyn, NY that combined exhibition space with evening art classes. 1 work at <a href="https://americanart.si.edu/artist/robert-p-archer-127" target="_blank" rel="noopener">Smithsonian Museum of American Art</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-31" target="_blank" rel="noopener">FAP</a>.
Creator
An entity primarily responsible for making the resource
Archer, Robert P., 1905-?
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 #FA18112
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
022
Federal Art Project
New Deal Gallery
painting
Robert P. Archer
still life
-
https://openvalley.org/files/original/3ff15f47a0c1ec168992a6078942bfd7.jpg
e7b739fbe08928b0b69c508a8d3d3aaa
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 on Canvas
Physical Dimensions
The actual physical size of the original image
20 x 24 in.
Condition: slightly torn, spotted, 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
Flowers
Description
An account of the resource
<p>Bayard has painted a still life of a blue vase of flowers on the end table. A small wooden box sits next to the vase. The table, box, and wall behind the vase all are a deep reddish brown; this color makes up much of the photo. The flowers in the vase are an assortment of blues, oranges, and whites. There are small peach colored circles on the table, which may be polka dots on the table, or may be fallen petals. There is a light blue along the edge of the right side of the painting, perhaps a window, and what looks to be a frame along the right side.</p>
<p><span style="text-decoration: underline;">About the Artist: </span>Although we haven’t been able to establish a reliable date or location for Bayard’s birth, an exhibition of her paintings at the MacDowell Club in 1915 for “painters trying their wings in the open” suggests a time somewhere 1899 (<em>Brooklyn Daily Eagle</em> 13 April 1915: 6). She studied with <a href="https://en.wikipedia.org/wiki/George_Luks" target="_blank" rel="noopener">George Luks</a> and <a href="https://en.wikipedia.org/wiki/Robert_Henri" target="_blank" rel="noopener">Robert Henri</a> at the Art Students League, the latter painting her portrait in <a href="https://www.wikiart.org/en/robert-henri/the-green-coat-1919" target="_blank" rel="noopener">“Green Coat”</a> (1919). Likewise, she was the subject of George Bellows’ “Lucie” (1915) and remained good friends with the family. Her work appeared at the Society of Independent Artists (1917), the Allison Gallery (1945), and at various Woodstock shows. In 1951 she had a solo exhibition at the Mollie Higgins Smith Gallery, Woodstock, where a review praised her pastels for possessing “an unusual quality of depth and rich strong color not normally associated with the delicate medium” (<em>Kingston Daily Freeman</em> 10 Sept. 1951: 5). A <em>Woodstock News</em> article on Bayard noted reviews in praise of Lucie’s work from <em>Art Digest</em> and <em>Art News</em>:[In] Miss Bayard’s painting – the flowers …possess vitality that contributes animation to each canvas – while their soundness of tactile substance does not prevent the impression of their fragile ephemeral character. She has a rich sense of color. Her work is modern and spirited – a vitality which flows, perhaps from the rapidity of execution and reveals a sure and personal touch.” 1 image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-2-folder-20" target="_blank" rel="noopener">FAP</a>.</p>
Creator
An entity primarily responsible for making the resource
Bayard, Lucie
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)
Schmeer, Samantha (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 Number: FA18115
Format
The file format, physical medium, or dimensions of the resource
jpeg, 729 KB
Type
The nature or genre of the resource
Still Image
Identifier
An unambiguous reference to the resource within a given context
025
Federal Art Project
Lucie Bayard
New Deal Gallery
painting
still life
-
https://openvalley.org/files/original/290cff5ceb14b7b1a235ab02faf464ee.jpg
5e4aa2b0e7269d26ed6fa09a77cff4ff
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
23.5 x 29.5 in.
Condition: dented, surface dirt, paint flaked
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
Victorian Still Life
Creator
An entity primarily responsible for making the resource
Bowler, Harold
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
Pretzer, Ron (photography)
Cannioto, Sydney (biography)
Cooper, Ken (biography)
Source
A related resource from which the described resource is derived
New Deal Art Gallery, Genesee Valley Council On the Arts
Object #FA18119
Format
The file format, physical medium, or dimensions of the resource
Jpeg, 655 KB
Description
An account of the resource
Half a dozen lily flowering tulips are depicted in a milk glass vessel known as a “hand vase,” a popular design during the 1870s-80s. Perhaps the most interesting aspect of Bowler’s composition is how a soft opalescence is carried across a conch shell, the vase, the flowers, and even the wall behind his still life. Note: for several decades this painting had been mislabeled as Bowler’s <em>Lilies and Shell</em>. <br /><span style="text-decoration: underline;"><br />About the Artist:</span><span> </span><span><span style="font-weight: 400;">Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span></span>
Type
The nature or genre of the resource
Still image
Identifier
An unambiguous reference to the resource within a given context
029
Federal Art Project
Harold Bowler
New Deal Gallery
Oil on Canvas
painting
still life