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.
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.
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.
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.
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.
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.
Edna Boies Hopkins (1872 –1937) is known for her floral woodblock prints that range from Japanese-inspired stylizations to boldly colored and progressively modernist works. In her brief career, Hopkins produced seventy-four known woodblock prints, including figurative work and landscapes as well as floral compositions. This catalogue illustrates all of Hopkins’s known prints, related drawings, and studies.
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.
Quilts of the Ohio Western Reserve includes early quilts brought from Connecticut to the Western Reserve in northeastern Ohio and contemporary quilts, including one by a conservative Amish woman and another inspired by Cleveland’s Rock and Roll Hall of Fame.