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Chip carved from walnut cigar boxes, with two drawers and lid. The pedestal box form was primarily found in upstate New York and created in the 1930s. Our example still has the New York cigar makers imprint on the inside of the boxes. Tramp Art wasn't produced only by itinerants but by the working man and is considered Folk Art. These pieces can be simple such as picture frames and small items, or complicated such as boxes with secret compartments and furniture. A generous donation by K. Richard B. Niehoff.
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 Born in England in 1822 he came to Cincinnati in the mid 1850's. He was a teacher at the Cincinnati Art Academy teaching decorative art and wood carving. One. of the premier Cincinnati Carvers, his work can be seen on furniture, woodwork, staircases, and small decorative items. His second wife was Adelaide Nourse, twin sister of painter Elizabeth Nourse. He was the founder of phonetic shorthand in America and one of the first shorthand reporters employed by the US Government. His most famous recorded case was the trial of the Lincoln conspirators.
- Sylvia Outland, Art Curator  Plaster maquette (model for a larger sculpture) of elegant standing female by Wayne Green. Carlysle Wayne Green lived in the old schoolhouse on Utica Road just north of Old St. Rt. 122. (This is why we named her Utica as she didn't come to us with a name.) Green was an accomplished sculptor, and artist-in-residence and instructor of sculpture at Wilmington College. Educated at the Dayton Art Institute, his works can be found in public private collections including Wilmington College.
- Sylvia Outland, Art Curator  "The paintings and drawings I create are intended to build bridges between the past, present, and future for both individuals and ALL groups of people, through stylistic ideas and expressions that crossover into many genres. Historically, my interest in art draws from cubism at the beginning of the 20th century. In contemporary terms, I have been noted to create images that relate to elements of urban architecture, highlighting areas of the city in which I lived and worked.
My intention was to create a kind of architectonic lyricism. Much of my work still combines elements of cubism and deconstructionism, thus combining my interests in the musical composition and its relationship to my visual world. A change in rhythm can be compared to a change in line, weight, brushstroke, value, and pitch. Though my work has characteristics of abstract art, I encourage my viewers to reexamine material culture through my art; therefore, my abstraction is not totally non-objective. It is semi-abstraction. In recent years my work has increasingly transitioned into bolder, brighter color, as a shift in mood and tempo create drawings that originate as studies and become important to my process. The forms seem to grow like plants and flowers interweaving together in my vivid pictorial arena. While incorporating shapes that reference biomorphic forms in nature and internal human anatomy, I combine recognizable imagery placed in natural and man-made environments to create paintings that celebrate the enduring positive spirit of humanity through passionate color. This use of vibrant color adds a dreamy and playful quality to my work. As a child, I possessed the passion to put my interpretation of the world around me on paper, later forging those images into paintings. I want the child I once was to be represented in my paintings on a visceral level, and at the same time express the refinement of a maturing culmination. The personal becomes the universal. Art is an important way for me to communicate and subsequently build relationships with others. My work is a spiritual testimony to the visual experiences that arouse my senses. As I examine and interpret the world around me, I seek to share an exquisite interplay of subtle and bold."  Cedric Michael Cox is best known for his paintings and drawings that merge surrealism and representational abstraction. As a student at the University of Cincinnati’s College of Design, Architecture, Art, and Planning (DAAP), Cox was awarded a fellowship to study at the Glasgow School of Art in Scotland. After receiving his Bachelor of Fine Arts in Painting in 1999, he began to exhibit regionally and nationally.
Cox’s paintings catapult color into rhythmic action with abstract and recognizable images that create compositions inspired by themes in music and the natural world. His work remains true to sharing Cox’s innermost self as his passion radiates from the canvas. Working under several influences which include architecture and art history, Cox’s work ranges from the geometric, to the curvilinear, to floral-like forms, all dancing within surrealistic shapes. In addition to his work being in corporate collections, Cox has executed several large-scale public murals, as well as murals in various public and private schools in The Cincinnati Region. Cox’s past exhibitions include: The Contemporary Arts Center of Cincinnati, The Weston Art Gallery, The Columbus Art Museum, Dayton Art Institute, Five Myles Gallery in Brooklyn, Museum of Science and Industry and Gallery Guichard in Chicago, and The Taft Museum of Art. In 2019, Cox’s work was on exhibit at 21c Museum Hotel in Cincinnati, and in 2020, he had a solo exhibition at James Ratliff Gallery in Sedona, Arizona. A 20-year retrospective exhibition at Caza Sikes Gallery and a commissioned body of work was created for the New Kinley Hotel Cincinnati in 2020 and in 2021, a series of 64 paintings for Cincinnati Children’s Hospital was installed. Throughout his career, Cox’s work has been featured in books, magazines, and in the media. Be sure to visit Cox's Art Exhibition, opening May 13th. with a free reception at 6:30p.  Rodney Veal is an independent choreographer and multi-disciplinary artist. He is a graduate of Eastern Michigan University with a B.S in Political Science and Visual Arts. In 2010, he received an M.F.A in Choreography from The Ohio State University. Rodney is an adjunct faculty in dance at Sinclair College in addition to serving as a Completion Coordinator for the Creative Arts Career Community. Rodney currently serves on the Board of Trustees of Ohio Dance, as President, and on the boards of Levitt Pavilion Dayton, HomeFull, Dayton Live!, as well as the Community Advisory board of WYSO.
Mr. Veal is the recipient of several Montgomery County Arts and Cultural District grants and fellowships, including a MCACD Individual Artist Fellowship in 2010-2011. He was one of five artists chosen nationwide to participate in the Blue Sky Dayton Project Artist in Residency Program held in collaboration with the University of Dayton in the summer of 2009. Mr. Veal has choreographed and presented performance installations all over the Miami Valley; recent notable projects are: Reveal: Five Zones of Beauty presented at the Springfield Museum of Art in 2011 and the GHETTO installation at the University of Dayton’s ArtStreet in 2015. Rodney can currently be seen as the Host of the Emmy© Award winning Television series THE ART SHOW on Think TV Channel 16, which is currently in production for its 12th season. Beautiful Remains: the work of Rodney Veal opens March 18 with a free opening reception at Harmon Museum. The exhibition closes May 7.  Timothy Ryan grew up in Warren County exploring the streams, fields, and woods of the area. At the time of his youth, his home town of Springboro was a quaint one stoplight village nestled in the countryside surrounded by many opportunities for the curious to get outdoors and explore nature. The beauty of the area continues to entice Tim and has greatly influenced his art. Tim has exhibited art work throughout the states of Ohio and Kentucky including shows in Yellow Springs, Dayton, Loveland, Lancaster, Springfield, and Berea. In his studio, Tim explores the interaction of color and rhythm that he sees in nature. The exploration manifests itself in representational and abstract imagery. Through his work, he hopes to share remote places of the Ohio Valley with the viewer. Tim received his BFA from Berea College in Kentucky, working extensively in painting, sculpture, and printmaking and his M.A. from Marygrove College. He returned to the Miami Valley to teach fine art in the area public schools for 30 years. During those years he was always proud of the students’ accomplishments and enjoyed watching them grow into successful adults. Due to considerable hearing loss, Tim retired from public education in 2015. Tim continues to enjoy spending time hiking, biking, and kayaking as well as learning about the past of this great area. To learn more, visit SouthRiverStudio.fineart on Facebook and don't miss Ryan's show, Colors and Rhythms in Nature: Landscapes and Abstracts on display from December 10, 2021 to January 21, 2021, at Harmon Museum. - bio supplied by the artist  Lebanon native, Gary Simendinger, dedicated his life to art and, as a teacher, served as an inspiration to the youth of the community. He encouraged his students to follow their artistic passions. "If you can imagine it, you can create it," one such student remembers Simendinger telling them. "He's the reason I pursued a degree in art." These kinds of memories are commonplace when it comes to Simendinger's students. Gary Simendinger sadly passed away in 2005 but his influence can still be felt. His wife, Connie, and their two daughters, Rozi & Carley, have gathered together an extensive collection that demonstrates the breadth and depth of Simendinger's abilities. Gary Simendinger "His Life, Art, and Legacy" opens October 8th with a free opening reception and will remain on display until December 3rd. Lebanon native and wealthy real estate developer William Elmer Harmon founded the Harmon Foundation in New York in 1922. Originally the new foundation supported the creation of playgrounds throughout the United States, the production of films about biblical subjects, and health care programs. However, it is better known today as the first major foundation supporting African-American creativity and ingenuity. W.E. Harmon's father was an officer in the 10th Cavalry regiment, a black unit known as the Buffalo Soldiers. Being raised among the soldiers had an impact on the young boy, and formed an accepting attitude toward African-Americans. Later in life, Mr. Harmon was moved after meeting a young African American artist in New York who was unable to sell his paintings because of his race. With a new focus, the Harmon Foundation began presenting cash awards in 1925 to African-Americans for distinguished achievement in eight fields: fine arts, literature, music, race relations, business, religious service, education, and science. Between 1927 and 1933, the Harmon Foundation was one of the first to give national recognition to the achievements of African-Americans. It is best known for its impact on the art of the Harlem Renaissance. Among the many recipients of the awards were; Countee Cullen, Claude McKay, Langston Hughes, James Weldon Johnson, Laura Wheeler Waring, Sargent Johnson, and Walter White. Hale Woodruff and Palmer Hayden were the very first recipients of the William E. Harmon Foundation award for Distinguished Achievement Among African Americans for the Fine Arts. The purpose of the awards were to stimulate creative achievement and bring attention to the work being accomplished by African American artists. The Foundation closed in 1967 and dispersed its considerable art collection to the Smithsonian’s Art Museum and the National Portrait Gallery, and other institutions. The Harmon Foundation is best known for its impact on the art of the Harlem Renaissance. Among the many recipients of the awards were; Countee Cullen, Claude McKay, Langston Hughes, James Weldon Johnson, Laura Wheeler Waring, Sargent Johnson, and Walter White.
Hale Woodruff and Palmer Hayden were the very first recipients of the William E. Harmon Foundation award for Distinguished Achievement Among African Americans for the Fine Arts. The purpose of the awards were to stimulate creative achievement and bring attention to the work being accomplished by African American artists. The Foundation closed in 1967 and dispersed its considerable art collection to the Smithsonian’s Art Museum and the National Portrait Gallery, and other institutions. - Michael Coyan Marcus Mote, born on June 19, 1817 in Miami County, Ohio, was a self-taught artist who pursued a career in painting from his studio in Lebanon. He was very talented and was able to achieve great success throughout his lifetime. However, today he is not only known for his artistic ability, but also for his Quaker heritage. Even though Quakers were critical of art, Mote was able to harmonize his conservative culture with the progressive ideas of the 19th century in his creation of four panoramas during the 1850’s.
A panorama is a piece of artwork that is considered to be an ancestor of a modern day film. It consisted of a series of painted scenes, each about nine feet high and fifteen to sixteen feet wide, which together would create a story. The scenes would slowly rotate around a hidden mechanism, and as the scenes passed, the story was told by a narrator, called a professor. Marcus Mote’s first panorama debuted on May 9, 1853 in Lebanon Court House to a large audience. It was a recreation of Harriet Beecher Stowe’s famous anti-slavery novel Uncle Tom’s Cabin. Thus, it portrayed the story of Uncle Tom, a slave, and the harsh reality of his life. Mote’s panorama was successful in staying true to the novel’s plot; however, his artistic talent truly exemplified the deep emotions felt by the characters. The panorama’s first public appearance was overshadowed by another panorama exhibit in the area, but it nevertheless received glowing critical reviews. Mote’s second panorama was based off of Milton’s poems Paradise Lost and Paradise Regained. These two poems are descriptions of the biblical story of the Garden of Eden. It premiered on October 14, 1853, about six months after the debut of his first panorama. It also received sterling reviews, especially for Mote’s portrayal of the lush Garden of Eden. The third panorama, titled the Geological History of the Course of Creation, was Mote’s largest. It was comprised of a total of forty scenes, which were painted on a total of six thousand square feet of canvas. It was inspired by the eternal beauty of Niagara Falls, and required him to do considerable research into geology and paleontology. This research allowed him to create what he believed to be a comprehensive history of the earth and the creation of mankind. Mote was commended for his ability to harmonize the biblical representation of creation and the version maintained by geologists. Its presentation included music directed by a man known as Professor Schuler, and the panorama was very well received by a large audience. Mote’s fourth and final panorama was a series of scenes promoting the virtues of temperance. For its debut, Mote hired Luximon Roy, an eccentric East Indian prince, to narrate the panorama as well as to share aspects of his culture. The enthusiastic audience considered by the painting as well as the lecture to be brilliant. This panorama was also at a later time narrated by the famous temperature lecturer M.M. Edwards of Cincinnati. The creation of these four panoramas was a major stepping stone for Mote’s career. The popularity that he attained by creating panoramas stayed with him as he moved on to portraiture and landscapes. Unfortunately, none of these four panoramas exist today. However, from the numerous glowing reviews and descriptions that do exist today, it is evident that he was very talented as well as beloved by the people of Lebanon. Written by Kaitlyn Barnes ARTIST’S STATEMENT
Sylvia Thompson Outland Inspired by color, line and form, I try to convey the beauty, personality and mood of each of my subjects. I love to garden, and am drawn to nature and like to capture the subject’s inner spirit as well as the mood of that particular moment. I feel a connection to my subjects and enjoy bringing out individual qualities, whether it is in a building, still life or landscape. Having lived in Lebanon and Warren County most of my life I feel a deep connection with the area and its history. My work is constantly evolving as I look for new ways to express my ideas. The large variety of methods and materials available continues to challenge and expand my creativity. Each medium has its own characteristics and the subjects of my work and ideas I want to convey will usually dictate the medium I use. I am constantly working and studying to expand my range of technical experience. I find that each work takes on a life of its own. This exhibition is made up of some of my favorite works done over the last 20 years. Recently, I’ve been working with line and color, as shown in my “Hosta’s Gone Wild” and “Graphics” series and flowers in quick color sketches. My earlier work centers around my “Vanishing Landscape” series of pictures of old barns and buildings as well as still life studies. My current work is more experimental using new ideas and different techniques letting serendipity dictate the design. I still most enjoy the mediums of pencil and pen because, when working with them, I find a calmness and peace. Inspired by my Grandmother and parents, my love of nature and history continues to this day as a great source of inspiration for my work. An early exposure to fine craftsmanship and building design has inspired my love of old barns, architecture and fine art crafts. The mediums used in the works in this exhibition are oil/acrylic, watercolor, color and graphite pencils, India ink in black and color markers. Work held in Private & Corporate Collections including: The Harmon Museum, Warren County Historical Society, Lebanon, Ohio Lebanon Citizens National Bank, Lebanon, Ohio GMI Companies, Lebanon, Ohio Butler County Republican Party Warren County, Ohio government Sylvia's show will be held from April 30, 2021 to June 5, 2021 at Harmon Museum - Sylvia Outland, Art Curator March 14th marked the return of the portrait, featured on Antiques Roadshow, of John Milton Charters and William Morris Charters (1846 - 1848) twin sons of Dr. William Morris Charters (1806 - 1883) and Cynthia Dutton Seely (1809 - 1860). Both portraits were painted, circa 1849, by Marcus Mote a Quaker artist living and working in Warren County. The Betsy H. Maple Trust, represented by Karri Hamilton daughter of Betsy Maple, (second wife of William Chester “Chet” Maple) personally delivered the painting the family gifted to the Harmon Museum. Both paintings descended in the family of Charters Dyche Maple (1899 - 1958) to his sons William Chester Maple (1935 - 2009) and Dixon Charters Maple (1929 - 2001).
Since childhood, I have always been drawn to antique objects; they bring a relevance and history which contemporary objects do not offer. This experience led to my exploration of historical drawings and etchings from the Victorian period, starting with Edwin Landseer, who was one of the most popular animal illustrators during this time period.
Images of animals and children started to proliferate at the turn of the century as people sent greeting postcards and also read magazines like Harper’s Weekly which contained stories written and illustrated in serial fashion. Printed magazines were available all over the country as reading became an important cultural activity and literacy increased. In addition, life was documented and shared in wonderfully illustrated children’s books. One can imagine domestic scenes by the fireside involving reading and the slow activity of embroidery. Artwork and literature are rife with cultural symbols; they are a tool which teach our youth as well as shape adult behaviors. Morals abound in these tales, both about humans and animals. At this time, animals started to be seen as domestic companions and valued for their loyalty and compassion. Many of these prints show scenes of tenderness and altruism, while others illustrate acts of aggression and barbary. These stories and the prints which accompanied them, had a profound effect upon public perception of the treatment of animals and children leading to new organizations for their protection including the Society for the Care and Protection of Animals (SCPA) and new child labor laws. Using research from this important historical period, I created a series of embroidered drawings on wool. There is a kind of nostalgia in these images, not of a perfect world, but a slower paced life with some sweetness. It is also important to note that the cultural awareness which awakened regarding children and animals unfortunately did not extend to all humanity, especially African Americans and immigrants. The resulting embroideries seek to shine light upon our collective potential for acts of altruism and bravery, amidst the presence of depravity. How can we extend the generosity of animals and children into contemporary society so that all people can find tenderness, sensitivity to others and begin to understand our collective value?  Traditional artist, Kelly Murray Frigard, has long pursued her interest in weaving, knitting, spinning, and felting. After a residency as a visiting artist in Canada's Northwest Territories, she received the Fulbright Fellowship, allowing her to study, for two years, in Finland and Sweden. Frigard also works in mixed media, metalsmithing, and drawing. She is currently a Professor of Fine Art at the University of Cincinnati, Clermont College. Her exhibition, "Embroidered Tales" recreates antique lithographs, from children's books, in colored stitchery.
 A message from the artist:
"Every image tells a story... Storytelling is a big part of what I bring to each photograph taken. I am interested in capturing the mood, tone and feeling that express subject matter in its greatest light. I have the patience it takes, and planning required to capture my imagery at just the right time to captivate the beholder. These tactics were shared with me by my father who gave me my first camera, a shiny new Kodak "Hawkeye". At Ohio University I studied Photography and was also privileged to meet my lovely wife Joy who was an Interior Design major. My photographic education also included portraits with models both indoors and outside. Throughout each shoot, I impart the importance of storytelling by applying empathy through the lens of my camera. Today, I find myself enjoying capturing the majesty of waterfalls and calm bold decoration of the American southwest. I hope you enjoy these lovely images and that they take you to a delightful place. I hope you enjoy my photography and decide to purchase one for your home, office, a friend. Sincerely, Marshall N. Miller" Marshall's exhibition begins August 7 and will run through August 29. |
AuthorNathaniel Grauwelman as well as various staff and volunteer writers. Categories
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