The Victorians were image obsessed. The middle decades of the nineteenth century saw an unprecedented growth in the picture industry. Technological advances enabled the Victorians to adorn with images the pages of their books and the walls of their homes. But this was not a wholly visual culture. Pictorial Victorians focuses on two of the most popular mid-nineteenth-century genres—illustration and narrative painting—that blurred the line between the visual and textual.
On May 10, 2003, the Cincinnati Art Museum will celebrate the opening of the Cincinnati Wing: eighteen thousand square feet of handsomely renovated gallery space devoted to the museum’s renowned collections of painting, sculpture, furniture, ceramics, and metalwork by Cincinnati artists. The museum is the first in the country to reinterpret its American art collections with a regional emphasis, fostering civic pride and drawing attention to the achievements of the city’s artists.
At the age of thirty-six, in 1852, Lt. Montgomery Cunningham Meigs of the Army Corps of Engineers reported to Washington, D.C., for duty as a special assistant to the chief army engineer, Gen. Joseph G. Totten. It was a fateful assignment, both for the nation’s capital and for the bright, ambitious, and politically connected West Point graduate. Meigs's forty-year tenure in the nation's capital was by any account spectacularly successful.
Rookwood Pottery of Cincinnati—the largest, longest-lasting, and arguably most important American Art Pottery—reflected the country's cultural and commercial milieux in the production, marketing, and consumption of its own products.
Tucked away in the Appalachian Mountains of West Virginia, preserved for generations, handmade bed quilts are windows into the past. In 1983, three West Virginia county extension agents discussed the need to locate and document their state's historic quilts. Mary Nell Godbey, Margaret Meador, and Mary Lou Schmidt joined with other concerned women to found the West Virginia Heritage Quilt Search.
The Reformation had considerable impact upon the world of art in sixteenth-century Germany, but that impact was not everywhere a uniform one. Some early Protestant leaders reacted to what they viewed as the idolatrous misuse of visual imagery in late medieval Catholicism with a demand for total abolition of paintings and figurative sculpture from the churches.