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Sample illuminated page by Dr. Tony Silvestri.
Recently we took a journey back in time to the Middle Ages, before the printing press, when books were written and illustrated entirely by hand. Dr. Tony Silvestri from Washburn University showed us how he’s keeping this complex craft alive today. Offered in conjunction with "Telling Stories", our current book art exhibit.
The crane is believed to live a very long life, so it is a symbol for longevity. Next to the phoenix, it is the second most important winged animal in the Chinese pantheon of animals. A pair of cranes is a symbol of long marriage and ultimate longevity.
A rooster is the symbol for reliability, epitome of fidelity and punctuality. Since the Chinese pronunciation for the rooster’s crest is the same as official, it is also a symbol of advantage. To give a rooster as a gift is to wish someone luck in attaining public office or a promotion.
3. Snuff bottle
ca. 20th century
Porcelain
97.40.250
4. Snuff bottle
ca. 20th century
Porcelain, jade
2005.9.1
5. Snuff bottle
ca. 20th century
Milk glass, inner painting
97.40.287
To paint the inside of the bottle, the artist must paint backwards. A skilled artist may complete a simple bottle in a week while something special may take a month or more.
Curate This! Curators' Statement
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Linday Lyke
"Beothuk Time" (2005)
TSCPL Permanent Collection, 2006.36
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Nikolaos Gyzis (1842-1901)
Wishbone, 1878
oil on canvas
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Νικόλαος Γύζης (1842-1901)
Γιάντες, 1878
λάδι σε μουσαμά
Permanent Collection of the National Gallery, Athens, Greece.
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Διάφορα έργα του Νίκου Χατζηκυριάκου Γκίκα (1906 - 1994).
Μόνιμη συλλογή της Εθνικής Πινακοθήκης, Αθήνα.
Arman 'The Red Faucet' (Der rote Wasserhahn), 1973, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
Norma Lockwood
English Ivy Quilt , Detail
Drawing, watercolor
c. 1940
Kansas WPA Project, Permanent Collection
Clockwise from top: SKRYPT blended stoneware vessel by J. Edward Barker Jr.; Tic-Tac-Toe to Go by Kathleen Winters-Myers and Shedding Light by Heather Weston.
Gerhard Hoehme 'Pusterlengo', 1974, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
BACKGROUND: Korhogo cloth. Ivory Coast (Cote d'Ivoire), Baule. Hand-woven muslin, dye. On loan from Tim and Jett Elmer. FOREGROUND: Large storage basket. Liberia, Loma. Liapa vine strips, dyed with kola and indigo. Gift of Diana Hawks.
Michael Almond
"The Contrary Garden Gates" (1994)
Woodcut print
TSCPL Permanent Collection, 1994.28
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
FROM LEFT:
Man’s shirt. Liberia, Loma. Cotton, embroidery. c. 1960s. Gift of Diana Hawks. Man's dress shirt. Sierra Leone. Cotton and embroidery. On loan from Tim and Jett Elmer. Woman's dress. Ghana, made by Essien. Laura wore this dress when presenting for class, or for afternoon gatherings. On loan from Laura Dalrymple and Jim Harris. Woman's dress. Ghana, made by Essien. On loan from Laura Dalrymple and Jim Harris.
Walter Hatke
Topeka KS
Bertrand Russell (1965-66)
Conté on paper
Gift of Bernard O. Stone & Becky Richmond
2005.2.7
I picked this because I like gesture drawing. Well executed, it can capture essential information in a matter of seconds. There’s no time to think or edit. It is unaffected. Gesture drawing is low-tech, unfussy, and portable. I can make one at the DMV, at the doctor’s office, at a bar, on vacation—at a bar on vacation. Gesture drawings can stand alone or become the foundation of your work—a ghost living beneath finished surfaces, virtually undetected. Making several a day keeps me flexible and aware of critical detail.
Gesture drawings to an artist are like scales and arpeggios to a musician, or warm-up stretches for a ballet dancer. Gesture drawing keeps you sharp and limber.
–Heather Kearns
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
Masks left to right: Face mask. Ivory Coast (Cote d'Ivoire), Baule. Wood. Gift of Dr. Cotter and Jeanne Hirschberg. Face mask. Ivory Coast (Cote d'Ivoire), Baule. Wood. On loan from Laura Dalrymple and Jim Harris. Face mask. Ivory Coast (Cote d'Ivoire), Baule. Wood. Gift of Dr. Cotter and Jeanne Hirschberg.
Background: Lapa cloth. Sierra Leone. Tie-dyed cloth. On loan fron Tim and Jett Elmer.
Arman 'The Red Faucet' (Der rote Wasserhahn), 1973, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
Q & A about illuminated manuscripts.
Recently we took a journey back in time to the Middle Ages, before the printing press, when books were written and illustrated entirely by hand. Dr. Tony Silvestri from Washburn University showed us how he’s keeping this complex craft alive today. Offered in conjunction with "Telling Stories", our current book art exhibit.
Abstraction: Cityscape
Anthony Lazorko
Truck Stop, 2008
Wood block, multicolored
Friends of the Library Purchase Award, Printed Image 3, 2010.040
In past times when one lived in contact with nature, abstraction was easy; it was done unconsciously. Now in our denaturalized age abstraction becomes an effort.
— Piet Mondrian, painter and printmaker
How can you tell that each of these prints are part of a city?
Can you find the buildings and roads?
Are you flying overhead or walking down the street?
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
DETAIL
Frances Watson
How We Lost the Mermaid’s Song, 2006
Paper, linocut
Edition of 10; Cloverleaf Studio, San Diego, CA
TSCPL Permanent Collection
I have a folk art collection that has a number of mermaids in it. I often make drawings from figures. At some point I made the linocut and put her in an ocean setting. I guess about the same time our resident mockingbird began his early morning concerts—the poem began—and the book was made.
How We Lost the Mermaid’s Song
The last mermaid, it is said sang a tempting song. She taught it to the flying fish who thought it much too long.
They sang it to the frigate bird who just was passing by. He sang the song from start to end then took it to the sky.
In the sky he met a mocking bird whose voice was beyond belief. He sang the song to the bird then disappeared beyond the reef. Now this bird was made for song. Sadly his memory was not that long in his wee brain he filed the tune and said “All is well. I’ll sing it soon.”
But when time came he tried and tried finally just laid down and cried “It’s lost, it’s lost, oh woe of woes I can’t remember how it goes.”
Teresa Johnston Basketry
On display in the TSCPL Rotunda through June 2009
Check out Teresa Johnston's Flickr page
LEFT TO RIGHT:
"Shelter" by Ron Hinton; 2002. Photoetched bronze with stainless steel and copper. Friends of the Library Purchase Award (Topeka Competition 27; 2005.14). Photoetching is the process that is used in computer micro-circitry. The image is a map of Northern Territories in Canada.
"Solitude" by Ron Hinton; 1987. Copper with photoetching. Friends of the Library Purchase Award (Topeka Competition 12; 1988.14)
Ron Hinton is from Lawrence, Kansas and now lives in Olympia, Washington. He earned his BFA and MFA from the University of Kansas. Hinton says, "My Work melds the historical and traditional aspects of the metalsmithing craft with contemporary forms and modern technical processes. In each piece of art, I try to create a visual rhythm through the use of negative space and repeating angles. Space and weight are balanced and counterbalanced. Whether using my own computer generated drawings, archival photographs, or satellite imagery, my goal is to achieve a timelessness in both form and image, while still retaining the warm and appealing qualities of the metal."
—Artist statement from the Strecker-Nelson Gallery, Manhattan, KS
Abstraction: Non-Objective
Lee Bontecou
Untitled, 1973
Serigraph
TSCPL Permanent Collection, 2000.018
Abstraction allows man to see with his mind what he cannot physically see with his eyes... Abstract art enables the artist to perceive beyond the tangible, to extract the infinite out of the finite. It is the emancipation of the mind. It is an explosion into unknown areas. — Arshile Gorky, painter
Malachite makes green.
Recently we took a journey back in time to the Middle Ages, before the printing press, when books were written and illustrated entirely by hand. Dr. Tony Silvestri from Washburn University showed us how he’s keeping this complex craft alive today. Offered in conjunction with "Telling Stories", our current book art exhibit.
Lindsay Smith
"Symbol #6" (2004)
TSCPL Permanent Collection, 2004. 36.1
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
THE STRUGGLE FOR JUSTICE Permanent Exhibition
Paul Peck Gallery
Visit NPG / THE STRUGGLE FOR JUSTICE website at www.npg.si.edu/exhibit/struggle/index.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
David Hicks Overmyer
Iago, c.1930s
Oil on Canvas
Gift of the Topeka Art Guild
1979.016.040
David Hicks Overmyer was a Topeka native recognized throughout the state for his work as an artist, illustrator and muralist.
Overmyer was influenced by the work of Maxfield Parrish and the new Art Deco style. These influences can be seen in Overmyer’s use of curvilinear forms, bold colors and sharply defined outlines in his painting Iago.
David Overmyer
untitled (20th century)
Painting
Gift from JoAnn Myers, 2004.13.1
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Lapis lazuli makes blue.
Recently we took a journey back in time to the Middle Ages, before the printing press, when books were written and illustrated entirely by hand. Dr. Tony Silvestri from Washburn University showed us how he’s keeping this complex craft alive today. Offered in conjunction with "Telling Stories", our current book art exhibit.