Play is the central, universally significant activity of childhood. Self-directed play in which adults have a supporting rather than directing role is critical to the development and well-being of children. This book is a flexible and accessible guide to encourage art-based play and allow children to explore, plan, and pursue their own interests.
Before he joined the staff of Punch and designed its iconic front cover, illustrator Richard “Dicky” Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof. This volume collects the fifty-three illustrated missives in their entirety for the first time and provides an uncommon peek into the intimate but expansive observations of a precocious social commentator and artist.
A remarkable collection of photographs by an ex-Marine who worked as a lawyer in Lawrence County, Ohio, for around thirty-six years.
Examines the vibrant engraving industry that helped fuel the growth of the “Queen City” and established its influence as the midwestern center for the print and engraving trade.
The story of Irish linen is a story of the Irish people. Many thousands of men and women made Irish linen a global product and an international brand. It is also a story of innovation and opportunity. Irish linen has served its makers as sail cloth of incredible strength and durability for world exploration and trade; it has functioned as watertight containers for farmers and firemen; it has soothed the brows of royalty and absorbed the sweat of the working class.
The first book to showcase the work of this Ohio artist and important modernist printmaker.
Outside the Ordinary introduces audiences to sixty–seven masterworks selected from the Nancy and David Wolf Collection, carefully documented and photographed in full color.
Chenoweth’s research to discover the story behind a Quaker signature quilt made in Columbiana County, Ohio, in 1853 revealed not only the identity of the quilt recipient and details of her life and community, but also a striking feature of the quilt itself—a “hidden” design element created by the deliberate placement of names on the quilt’s surface.
In the Gilded Age, when most sculptors aspired to produce monuments, Bessie Potter Vonnoh (1872–1955) made significant contributions to small bronze sculpture and garden statuary designed for the embellishment of the home. Her work commanded admiration for her fluid and suggestive modeling, graceful lines, and sculptural form. In 1904 Bessie Potter Vonnoh won the gold medal for sculpture at the St.
The various lenses—ethical, political, sexual, religious, and so forth—through which we may view art are often instrumental in giving us an appreciation of the work. In Art in Context: Understanding Aesthetic Value, philosopher David Fenner presents a straightforward, accessible overview of the arguments about the importance of considering the relevant context in determining the true merit of a work of art.
Developing a perspective on Victorian culture as the breeding ground for early theories of the unconscious and the divided psyche, The Demon and the Damozel: Dynamics of Desire in the Works of Christina Rossetti and Dante Gabriel Rossetti offers a new reading of these eminent Victorian siblings’ literature and visual arts.
George Stow was a Victorian man of many parts—poet, historian, ethnographer, artist, cartographer, and prolific writer. A geologist by profession, he became acquainted, through his work in the field, with the extraordinary wealth of rock paintings in the caves and shelters of the South African interior. Enchanted and absorbed by them, Stow set out to create a record of this creative work of the people who had tracked and marked the South African landscape decades and centuries before him.
This unique book combines two catalogs in one. Bead International 2008 and Beyond Basketry represents the best of two juried exhibitions held at the Dairy Barn Arts Center in Athens, Ohio.
Rookwood and the American Indian blends anthropology with art history to reveal the relationships between the white settlers and the Native Americans in general, between Cincinnati and the American Indian in particular, and ultimately between Rookwood artists and their Indian friends.
In the 1870s, facing cultural extinction and the death of their language, several San men and women told their stories to two pioneering colonial scholars in Cape Town, Wilhelm Bleek and Lucy Lloyd. The narratives of these San—or Bushmen—were of the land, the rain, the history of the first people, and the origin of the moon and stars.