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Diminutive marvels of artistry and fine craftsmanship, portrait miniatures reveal a wealth of information within their small frames. They can tell tales of cultural history and biography, of people and their passions, of evolving tastes in jewelry, fashion, hairstyles, and the decorative arts. Unlike many other genres, miniatures have a tradition in which amateurs and professionals have operated in parallel and women artists have flourished as professionals. This richly illustrated book presents approximately 180 portrait miniatures selected from the holdings of the Cincinnati Art Museum, the largest and most diverse collection of its kind in North America. The book stresses the continuity of stylistic tradition across Europe and America as well as the vitality of the portrait miniature format through more than four centuries. A detailed catalogue entry, as well as a concise artist biography, appears for each object. Essays examine various aspects of miniature painting, of the depiction of costume in miniatures, and of the allied art of hair work.
Seeing the bold, confident handling with which Frank Duveneck (1848&ndash1919) infuses life into his subjects can be breathtaking. This is the first major publication in more than 30 years devoted to Duveneck, one of the most influential and widely respected late-nineteenth century American artists.Beloved to his students, Duveneck was lauded by many Gilded Age luminaries such as James Abbott McNeill Whistler and Henry James. Yet a century after his death, he is largely known only for a single, brilliant painting, The Whistling Boy. By contextualizing his work in the artistic, cultural and social milieus of the time, this publication offers diverse perspectives on Duveneck's life, work, subjects and reputation. The essays span his beginnings as a painter of dark realism to his later impressionistic work and examine his significance as a printmaker and draftsman. The lavishly illustrated volume includes a chronology and selected bibliography.
A study of one of America's most important designers, in particular the Art Deco bedroom he created for the teenage Elaine Wormser.
"Rexroth's most notable work, Iowa, is a series of dream-like and poetic images.Each seemingly candid and liquid composition includes a soft focus and vignette, characteristic qualities of Diana camera images. [...] The Iowa series subconsciously expresses Rexroth's childhood memories of visiting family in Iowa. Growing up in the suburbs of Arlington, Virginia, she was captivated by the exotic summer landscapes of Iowa. Although the influence of her memories is present, Rexroth refers to Iowa as a hallucinatory state of mind rather than a concrete geographic location of personal sentiment. She describes Iowa as 'conceived of as a kind of psychic journey from one emotional mood to the next-- a maturation process. It all happens in a place which is very exotic.' In the introduction to the book, Mark L. Power describes this work as 'Sunny Iowa was transformed by memory into a dark Iowa with "a real feeling of melancholy." [...]"
Published in conjunction with an exhibition on view at the Metropolitan Museum of Art, New York, May 5-Aug. 15, 2010, and at the Brooklyn Museum, May 7-Aug. 1, 2010.
In spring 2016, Sohrab Hura traveled the lower Mississippi with Postcards from America, a loosely collaborative documentary project conceived in 2011 by Alec Soth and Jim Goldberg and funded by Pier 24 Photography. Hura's trip down the levees had been shortly preceded by his father's journey on the river itself, on a commercial ship navigating up to New Orleans from the Gulf of Mexico. The work that resulted, The Levee, embodies the artist's impressions of place through the prism of his relationship with his father. The first museum exhibition dedicated to Hura's work, The Levee: A Photographer in the American South (October 5, 2019-February 2, 2020) celebrates the Cincinnati Art Museum's acquisition of the complete eighty-three-picture suite.Co-published with Candor Arts and enabled in part by the support of Peter and Betsy Niehoff, The Levee: A Photographer in the American South includes original scholarship by exhibition curator Nathaniel M. Stein and contributions from photographers Jim Goldberg, An-My Lê, Alec Soth, and Mikhael Subotzky and writer Chris Klatell. It is the first major publication about Sohrab Hura and one of few to document the history of Postcards from America.
"Do it" began in 1993 with a discussion among Christian Boltanski, Bertrand Lavier and Hans-Ulrich Obist in the Café Select in Paris. From this encounter arose the idea of an exhibition of do-it-yourself descriptions or procedural instructions for art. In 1993, in cooperation with the AFAA (Association Française d'Action Artistique) twelve original do it texts were translated into eight languages and sent as a diplomatic dispatch to each country with which France maintains diplomatic relations. The first do it took place in September 1994 at the Ritter Kunsthalle In Klagenfurt, Austria.
One of the most historically significant and visually compelling silver collections in the USA