Julie Aronson

This beautifully illustrated new volume highlights over 80 works by Cincinnati native, American Impressionist Edward Henry Potthast (1857-1927), celebrated for his sun-filled paintings of Americans at leisure. It covers the complete range of his art across different themes and media, from studies to finished works of art, watercolours, pastels, prints, and oil paintings. Together with his famous beach scenes are portrayals of European peasants and agricultural labourers, harbour views, landscapes and portraits, drawn from the Cincinnati Art Museum and other private and public collections. New research, supported by archival photographs and documents, puts Potthast's paintings in the context of the art and culture of his time, including the rise of middle class leisure and tourism. In addition an extensive technical study of Potthast's paintings by chief conservator Per Knutas makes this an invaluable resource for museums, collectors and dealers.

In the Gilded Age, when most sculptors aspired to produce monuxadments, 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. Louis World's Fair for bronzes of contemporary American women and children that delighted all who saw them. Although Vonnoh's work is represented today in museums throughout the United States, Bessie Potter Vonnoh: Sculptor of Women provides for the first time an intimate and engaging encounter with one of the most widely respected sculptors of her day. Julie Aronson explores how, by concentrating on sculpture for domestic settings that expertly combined naturalism with elegance, Vonnoh negotiated a male-dominated field to create a pathway to professional success and made high-quality sculpture accessible to a wider audience. In an essay that examines Vonnoh's relationship with her foundries and scrutinizes bronze castings, Janis Conner demystifies baffling issues of authenticity and quality in turn-of-the-century bronzes. This copiously illustrated book, indispensable for all sculpture enthusiasts, accompanies the first exhibition since 1930 dedicated to the art of Bessie Potter Vonnoh.

In the Gilded Age, when most sculptors aspired to produce monuxadments, 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. Louis World's Fair for bronzes of contemporary American women and children that delighted all who saw them. Although Vonnoh's work is represented today in museums throughout the United States, Bessie Potter Vonnoh: Sculptor of Women provides for the first time an intimate and engaging encounter with one of the most widely respected sculptors of her day. Julie Aronson explores how, by concentrating on sculpture for domestic settings that expertly combined naturalism with elegance, Vonnoh negotiated a male-dominated field to create a pathway to professional success and made high-quality sculpture accessible to a wider audience. In an essay that examines Vonnoh's relationship with her foundries and scrutinizes bronze castings, Janis Conner demystifies baffling issues of authenticity and quality in turn-of-the-century bronzes. This copiously illustrated book, indispensable for all sculpture enthusiasts, accompanies the first exhibition since 1930 dedicated to the art of Bessie Potter Vonnoh.

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.Published in association with the Cincinnati Art MuseumExhibition Schedule:Cincinnati Art Museum (March 4–May 28, 2006) Columbia Museum of Art, Columbia, South Carolina (August 18–October 22, 2006)

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. In conjunction with the celebration, Ohio University Press is proud to publish The Cincinnati Wing: The Story of Art in the Queen City, showcasing one of America's foremost art centers of the nineteenth and early twentieth centuries. The authors of this collection trace the thematic arrangement of the Cincinnati Wing galleries, situating the artwork in the context of the city's history as it progressed from a frontier river town to an industrial powerhouse. The Cincinnati Wing provides a vivid picture of the fertile social and cultural climate that produced such prominent figures in the history of American art as sculptor Hiram Powers and painters Robert S. Duncanson, Frank Duveneck, and John H. Twachtman. Cincinnati's contributions to the decorative arts are exemplified by the stunning ceramics of the celebrated Rookwood Pottery Company, the nation's leading art pottery firm, and by the city's lesser-known yet equally significant Aesthetic Movement furniture. One hundred fifty-one color plates highlight the beauty and diversity of the Cincinnati Art Museum's collections and illuminate the Queen City's great artistic legacy. Published in association with the Cincinnati Art Museum

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. In conjunction with the celebration, Ohio University Press is proud to publish The Cincinnati Wing: The Story of Art in the Queen City, showcasing one of America's foremost art centers of the nineteenth and early twentieth centuries. The authors of this collection trace the thematic arrangement of the Cincinnati Wing galleries, situating the artwork in the context of the city's history as it progressed from a frontier river town to an industrial powerhouse. The Cincinnati Wing provides a vivid picture of the fertile social and cultural climate that produced such prominent figures in the history of American art as sculptor Hiram Powers and painters Robert S. Duncanson, Frank Duveneck, and John H. Twachtman. Cincinnati's contributions to the decorative arts are exemplified by the stunning ceramics of the celebrated Rookwood Pottery Company, the nation's leading art pottery firm, and by the city's lesser-known yet equally significant Aesthetic Movement furniture. One hundred fifty-one color plates highlight the beauty and diversity of the Cincinnati Art Museum's collections and illuminate the Queen City's great artistic legacy. Published in association with the Cincinnati Art Museum