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THOMAS E. WOLFE: VALUING THE LIFE AND WORK OF AN APPALACHIAN
REGIONALIST ARTIST WITHIN HIS COMMUNITY

DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By
Susannah L. Van Horn, M.A.
Graduate Program in Art Education

The Ohio State University
2012

Dissertation Committee: Dr. James Sanders, Advisor Dr. Christine Ballengee Morris
Dr. Sydney Walker
Copyright by
Susannah L. Van Horn, M.A.
2012 Abstract
The purpose of my research is to offer insight into the life and work of Thomas E.
Wolfe, who exhibits self-determination both as an artist and as an art educator in an

Appalachian region of Southeastern Ohio. By presenting Wolfe’s life story, I make

connections to the influences of culture, social experiences, regional identity, and family traditions that play to his development as an artist and art educator. My research questions focused on how he perceives himself, how others perceive his presence in the community, how his artwork is valued by his community and how his teaching practices helped develop a greater sense of community. Specifically, I was interested in which historical moments and events in his life that were important to him in recollecting his life story. In my narrative analysis of Wolfe’s life stories collected through oral history from Wolfe and 26 of his friends, family members, former students and community members, I considered selectivity, slippage, silence, intertextuality, and subjectivity to analyze his life story (Casey, 1993; Casey 1995-1996).
Thomas Eugene Wolfe began making art as a child and evolved into an accomplished artist. As an art educator he had a prolific teaching career that spanned forty plus years. During this time, Wolfe developed his artistic style as a Regionalist watercolor artist, one whose work reflected a rural Appalachian landscape, architecture, and culture of the Perry County, Ohio community in which he lives and taught.

ii
The primary objective of this study is to document Wolfe’s life and art depicting the Perry County, Ohio region; and consider how his work might have influenced his community. Wolfe’s background and life stories are explored across both the similarities and differences from other Regionalist artists in order to situate a broader understanding of the many ways in which he, as an Appalachian Regionalist artist interacts with his community.
The literature review for this study involved chronicling the historical background of Regionalist artists in America in order to provide an artistic and social context for Wolfe and his work as both a teacher and as an artist. It also included an examination of Wolfe’s life, based on the oral histories I collected from the artist, his family, friends, and community members.
This research recognizes that self-determination and community involvement are significant components in creating a personal identity and in helping to construct a

community identity. In analyzing the oral histories collected, the value of Wolfe’s

artwork and presence within his community emerged. Through his paintings he has captured images of a vanishing local landscape, architecture, and culture that the community deeply appreciates. The community testimonies evidence a valuing of Wolfe’s images and his work to preserve the local history. As a Regionalist artist, and through his teaching practices, he has helped others to come to know and understand the value of art to this community.

iii
Dedication
Dedicated to my grandfather, Thomas E. Wolfe, whose life serves as a lesson to work hard, be persistent, and to also have fun and make friends along the way.

To my mother, Beverly Jane Van Horn, who has always been an inspiration to attain great things and who has been supportive and loving through it all.

Finally, to my husband, Dr. Jon Michael Frey, for inspiring and motivating me to finish, and my sons, Timothy and Theodore, whose little hands were always reaching under the office door to say, “Hi mommy!” They kept me focused on what was important.

iv
Acknowledgments
Though only my name appears on the cover of this dissertation, a great many people have contributed to its production. My deepest gratitude is to my mother, who painstakingly transcribed all of the fifty plus oral histories collected during the course of my research. Without her transcribed files of the audio recordings, I never would have finished my dissertation. She also provided financial and emotional support, but more importantly, several weeks of her life were dedicated to watching my twin sons so that I could have time to write. In addition, Julia Lathin provided much needed assistance.
I am grateful for my advisor, Dr. James Sanders. I have been amazingly fortunate to have an advisor who gave me the freedom to explore and research on my own and at the same time provided the guidance necessary to focus my study. Additionally, my dissertation committee members, Dr. Christine Ballengee Morris and Dr. Sydney Walker, were essential to the overall success of my dissertation. Also at The Ohio State University, I would like to show my appreciation to Sally Muster and Harry Campbell who provided advice and the facilities for me to properly clean and preserve artwork my grandfather created while in high school.
Finally, I am extremely appreciative of the participants in this study, namely my grandfather, Thomas E. Wolfe, and the 26 other individuals who volunteered their time and recounted stories to help me develop a fuller understanding of my grandfather’s life, work, and influence on the Perry County community.

vVita
February 17, 1973 ..........................................Born – Zanesville, Ohio. June 1991 .......................................................New Lexington High School 1994................................................................B.A.E. Art Education, The Ohio State
University
1995-1996 ......................................................Art Educator, Harpeth High School
(Kingston Springs, TN)
1997................................................................M.A. Art Education, The Ohio State
University
2000-2003 ......................................................Art Educator, Chinese American
International School (San Francisco, CA)
2003 to present ..............................................Graduate Student, Art Education, The Ohio
State University
2006 to present...............................................Visiting Instructor, College of Art, Art
History and Design and College of Education, Michigan State University

Fields of Study
Major Field: Art Education

vi
Table of Contents
Abstract............................................................................................................................... ii Dedication.......................................................................................................................... iv Acknowledgments............................................................................................................... v Vita..................................................................................................................................... vi List of Tables ...................................................................................................................... x List of Figures.................................................................................................................... xi Chapter 1: Introduction ..................................................................................................... 1
Why Study an Appalachian Regionalist Artist? ..........................................1 Background on Author.................................................................................2 Background on Artist...................................................................................9 Statement of Purpose .................................................................................13 Significance of the Study...........................................................................18 Guiding Questions .....................................................................................22 Overview of Research Design ...................................................................23 Selectivity, Slippage, Silence, Intertextuality and Subjectivity.................24 Conclusion: Overview of Chapters............................................................29
Chapter 2: Research Context .............................................................................................31

Setting the Stage for Regionalism .............................................................32 vii
Regionalism ..............................................................................................48 Downfall of Regionalism ..........................................................................54 Second Generation Regionalist Artist, Thomas E. Wolfe ........................61 Appalachian Stereotypes ...........................................................................63 Regional Identity .......................................................................................67 Freedom and Self-Determination ..............................................................72
Chapter 3: Research Methodology ....................................................................................84
Qualitative Research Background .............................................................84 Qualitative Research Overview ................................................................85 The Value of Stories .................................................................................93 History and Benefits of Oral History ........................................................98 Oral History Methodology ......................................................................104 Reliability of Memory .............................................................................107 Collection and Analysis of Oral Histories ..............................................110 Project Preparation and Overview ..........................................................110 Institutional Support ................................................................................112
Chapter 4: Perry County Community and the Life and Works of Thomas E. Wolfe .....115
General Appalachian Information ...........................................................116 Geographical Information .......................................................................120 Historical Information .............................................................................122 Demographics of the Area ......................................................................125 1923-1943, Childhood up to the Navy ....................................................126

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1943-1960, Middle Years and Early Teaching Jobs ...............................144 1960-1988, Becoming an Acknowledged Artist an Educator ................165 1988-Present, Life after Retirement ........................................................205
Chapter 5: Critical Analysis of the Oral Histories Collected ..........................................226
Appalachian Identity and Classism .........................................................230 Critical Literacy and a Multicultural Approach ......................................237 Identifying Themes .................................................................................241 Control Over Stories and the Creation of Myth ......................................248 Collective Memory and Identity .............................................................255 Memory Slippages ..................................................................................259 Personality and Characteristics of an Artist ............................................261 Wolfe’s Artistic Style .............................................................................267 Value of Wolfe’s Artwork ......................................................................270 Community Approval .............................................................................278
Chapter 6: Conclusion .....................................................................................................283
Summary .................................................................................................283 Implications for the field of Art Education .............................................285 Suggestions for Further Study ................................................................292 Further Study of Wolfe's Artwork ..........................................................302
References....................................................................................................................... 306

Appendix A: Semi-Structured Interview Questions ....................................................... 316 Appendix B: IRB Exempt Research Approval Letter..................................................... 321 ix
List of Tables

Table 1. Record of Births and Deaths in Franklin and Maude Wolfe’s Family .............. 11

Table 2. Record of Births and Deaths in Thomas and Letitia Wolfe’s Family ............... 12 Table 3. Time Line for Art Historical Movements.......................................................... 31 Table 4. Comparision of Research Characteristics between Merriam and Van Horn ..... 87 Table 5. Summary of Presentations at the Catching Stories, Oral History Institute ...... 114

Table 6. Analysis of Wolfe’s Retelling the Story of his First Fight .............................. 247

Table 7. Thomas Wolfe’s Life Lessons ......................................................................... 284 Table 8. List of Thomas Wolfe’s Artistic Accomplishments ........................................ 285

x
List of Figures
Figure 2.1. Winslow Homer, Milking Time, oil on canvas, 1875..................................... 34 Figure 2.2. Amory Show Poster, 1913.............................................................................. 41 Figure 2.3. Ad Reinhardt, “How to Look at Modern Art,” 1946...................................... 56 Figure 2.4. Detail of Reinhardt Drawing .......................................................................... 57 Figure 2.5. Untitled, Corn Stalks, Wolfe Family Farm, Junction City, OH, 1979 ........... 75 Figure 2.6. Untitled, Mail Pouch Barn, US 22, Somerset, OH, 1980............................... 75 Figure 2.7. Untitled, New Lexington Railroad Depot, 1988 ........................................... 76 Figure 2.8. Untitled, John McGaughey, Jr.’s Barn, Junction City, OH, ca. 1990 ............ 77

Figure 2.9. Untitled, Clayton Bussey’e Barn, Somerset, OH, ca. 1990............................ 78

Figure 2.10. Untitled, Covered Bridge in Fall, Location Unknwon, 1997 ....................... 78 Figure 2.11. Untitled, Barn in Curve by Church Cemetery on St. Rt. 668, 1998............. 79

Figure 2.12. Untitled, Wolfe’s Parents, Jerusalem Road Bridge, Bremen, OH, 2004...... 79

Figure 2.13. Untitled, Bremen Hardware Store, Bremen, OH, 1979................................ 80 Figure 2.14. Untitled, Bremen Variety Store, Bremen, OH 1979 .................................... 80 Figure 2.15. Untitled, Saltillo Church, Saltillo, OH 1983 ................................................ 81

Figure 2.16. Untitled, Waren Patton’s House, W. of New Lex., OH, 1981 ..................... 81

Figure 2.17. Untitled, Old Rushcreek School, W. of New Lex., OH 1982 ...................... 82

Figure 2.18. Untitled, Out House on Roy Garey’s Farm, Junction City, OH, 1984......... 82

xi
Figure 2.19. Untitled, Coal Bucket with Hole in Bottom, Junction City, OH 1981......... 83 Figure 2.20. Untitled, Looking out of Barn towards a Corn Crib, ca. 1980..................... 83 Figure 3.1. Wolfe and Bulgarian Consul General Valentin Dontchev, June 12, 2010..... 97 Figure 3.2. Untitled, Village Square, Somerset, OH 2007 .............................................. 98 Figure 4.1. Maps of Perry County and the Appalachian Region................................... 120 Figure 4.2. Photograph of Village Square, Somerset, OH, ca. 1920 ............................. 124 Figure 4.3. Franklin Wolfe and his Dog, Bud, in front of Woodshop, ca. 1940 ............ 133 Figure 4.4. Untitled, Pen and Ink Drawing, 1939........................................................... 134 Figure 4.5. Thomas Wolfe High School Football Photograph, 1941 ............................. 135 Figure 4.6. Sarabelle Haye Cartoon Created by Wolfe and Pearl Wilson, ca. 1938...... 137 Figure 4.7. Sarabelle Haye Cartoon Cell, ca. 1938 ........................................................ 137 Figure 4.8. Photograph of Wolfe next to Fanning Painting, 2010.................................. 150 Figure 4.9. Inside, Back Cover of Wolfe’s College Notebook....................................... 152 Figure 4.10. Back Cover of Wolfe’s College Notebook................................................. 153 Figure 4.11. Photograph of 1946-1947 New Lexington High School Grade 7 .............. 154 Figure 4.12. Photograph of the 1946 New Lexington High School Football Team....... 156

Figure 4.13. Wolfe’s McLuney High School Yearbook Faculty Photo, 1960 ............... 158

Figure 4.14. Art Class Photo from McLuney High School Yearbook, 1960 ................. 159 Figure 4.15. Wolfe and OSU President Gee at the 1960 50th Class Reuion, 2010......... 165 Figure 4.16. George Adams Carving in Eighth Grade, Junction City, OH, 1968 .......... 173 Figure 4.17. Wolfe and Adams with Sculpture of Abraham Lincoln, June 3, 2010....... 173

Figure 4.18. John Cronin’s Plaque of President Ford at the Ford Library, 2012............ 177

xii
Figure 4.19. McLuney High School Yearbook Photo of Charles Cherry, 1960............. 179 Figure 4.20. McLuney High School Yearbook Photo of Nine Foot Sculpture, 1960..... 180 Figure 4.21. Leslie Cope, “Y” Bridge, Zanesville, OH, 1984 ........................................ 194 Figure 4.22. Thomas Wolfe, Untiteld, “Y” Bridge, Zanesville, OH, 1988 .................... 195 Figure 4.23. Our Boarding House, Original Cartoon Cell by Bill Freyse...................... 197 Figure 4.24. Clayton Bussey and Thomas Wolfe with Decorated Gourds, 1993........... 204 Figure 4.25. Correspondence between Adrian Nader and Wolfe, June 8, 1991............. 214 Figure 4.26. Wolfe, Grand Marshal of the 2010 Junction City Fourth of July Parade .. 219 Figure 4.27. South Facing Side of World War II Monument, New Lex., OH, 2012...... 221 Figure 4.28. North Facing Side of World War II Monument, New Lex., OH, 2012...... 221 Figure 4.29. Wolfe in Front of Navy Figure on the World War II Monument, 2012..... 222 Figure 4.30. Mary Ruffner Covered Bridge, between Thornville and Somerset, OH.... 225 Figure 5.1. “Young Scientist,” Newspaper Clipping, May 29, 1963.............................. 257 Figure 5.2. “Sports Parade” Clippings from the Columbus Citizen, 1938...................... 274

Figure 5.3. Wolfe’s Sketch Based on Image from “Sports Parade” ca. 1938................. 275 Figure 5.4. Wolfe’s Sketch of Joe Lewis from Newspaper Clipping, ca. 1938.............. 275

Figure 5.5. Wolfe, Untitled, Covered “Y” Bridge, 1988 ................................................ 277

Figure 5.6. Early 1900s Postcards of the Zanesville, OH “Y” Bridge............................ 277

Figure 6.1. Untitled, Small Barn on Hill with Brown Tones, 1979............................... 294 Figure 6.2. Untitled, Steam Train Locomotive, 1977..................................................... 296 Figure 6.3. Untitled, Steam Train Engine and Cars, 1973.............................................. 297 Figure 6.4. Untitled, Pulling Christmas Tree through Covered Bridge, 1999................ 301

xiii
CHAPTER 1
INTRODUCTION

“A place will give up its stories if we tap the internal vein of human drama.”

  • -
  • Ginette Aley (2008, p. 98)

Why Study an Appalachian Regionalist Artist?

Regionalism, also commonly referred to as American Scene Painting, was a style of painting that captured traditional rural imagery including the natural landscape and people of the Midwest. As a style of painting it took place alongside the Urban Regionalism movement, also happening in the U.S., and the modern European Abstract art movement which was gaining popularity both abroad and in the United States in the early part of the Twentieth Century. Regionalism reached its height of social acceptance between 1930 and 1935, however, its appreciation has gained momentum in the last few decades and its significance as a renewed movement has increased as the global community grows and, in effect, shrinks modern life. As more and more people become assimilated into the instant communication/news media global life, there is a growing demand for holding on to that which makes each region and place unique. Through studying the life and works of an Appalachian Regionalist artist, a greater understanding about regional culture and identity, as well as efforts to retain that culture, can be gained.

1
The selection of an Appalachian Regionalist artist over other Regionalist artists for this study was based mainly on two factors; the first is that I am from the same Appalachian region of Ohio as the artist and the second is that I have a very close relationship to the artist, Thomas E. Wolfe, in that he is my grandfather. Both factors contributed to my research since I could provide personal insight regarding the region and I could engage with the artist and his work on a more intimate level than someone who was an outsider to the family. Garry Barker notes the significance of having a native write about Appalachia, “We all have our own perceptions of our own worlds, but Appalachia has been dissected so often – and so often by sociologists, folklorists, and

scholars from somewhere else – that native voices are usually ignored,” (1995, p. 7).

Therefore, by selecting the Appalachian Regionalist artist that I did, my research has helped to allow native voices to be heard; including mine, my grandfathers, and the Perry County community members who took part in my research.

Background on Author

Where to begin is always the hardest part. So I will begin with what I know, I will begin with me. I became who I am today because of the narrative that has become my life. Therefore I have become an Art Educator because everything in my life has led me to this profession. I did not want to be an art teacher. I did not want to be in college any longer than I needed to be in order to get a degree. I did, however, want to pursue a degree that was art related. I should explain that although I grew up in an Appalachian region of Ohio, at the time I did not know what that meant nor did I feel underprivileged. My mother was a teacher and valued education, so I never felt like I had a choice about

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    John Read is the creator and curator of the “One Fine Sunday in the Funny Pages” exhibit. A freelance cartoonist, John also teaches cartooning to children and is the publisher and editor of Stay Tooned! Magazine, considered the trade journal of the craft. The Comic Mode The comic strip provides a colorful and humorous respite from the serious and often tragic news that precedes it. There are many reasons for reading the “funny pages”; from the basic need to be entertained, to the desire to escape for a moment into what seems a playful combination of a joke and a sequence of images that illustrate the nonsense and play that generates it. Yet, what really constitutes the “comic” in a comic strip? Are they simply funny, as in Blondie, Garfield or Hagar the Horrible? Or do we sense underlying tones of irony, satire, political and social commentary as evidenced in Doonesbury, Non Sequitur, and Between Friends? How are we to understand the double entendre, the sting of wit or the twist of the absurd that infuses so many contemporary comic strips? It would seem that as in dreams, there are many levels to the comic mode. On the first take, the superficial or manifest appeal generates a smile or laughter. But as with many dreams and good jokes, there is the second take, a latent need to establish or defy meaning as embedded within the structure of the images themselves. The paradox or playfulness of the comic strip partially lies in discovering the truth in the nonsensical aspects of day-to-day living.
  • Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No

    Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No

    NUNC COCNOSCO EX PARTE THOMAS J BATA LIBRARY TRENT UNIVERSITY Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/raoulhausmannberOOOObens Raoul Hausmann and Berlin Dada Studies in the Fine Arts: The Avant-Garde, No. 55 Stephen C. Foster, Series Editor Associate Professor of Art History University of Iowa Other Titles in This Series No. 47 Artwords: Discourse on the 60s and 70s Jeanne Siegel No. 48 Dadaj Dimensions Stephen C. Foster, ed. No. 49 Arthur Dove: Nature as Symbol Sherrye Cohn No. 50 The New Generation and Artistic Modernism in the Ukraine Myroslava M. Mudrak No. 51 Gypsies and Other Bohemians: The Myth of the Artist in Nineteenth- Century France Marilyn R. Brown No. 52 Emil Nolde and German Expressionism: A Prophet in His Own Land William S. Bradley No. 53 The Skyscraper in American Art, 1890-1931 Merrill Schleier No. 54 Andy Warhol’s Art and Films Patrick S. Smith Raoul Hausmann and Berlin Dada by Timothy O. Benson T TA /f T Research U'lVlT Press Ann Arbor, Michigan \ u » V-*** \ C\ Xv»;s 7 ; Copyright © 1987, 1986 Timothy O. Benson All rights reserved Produced and distributed by UMI Research Press an imprint of University Microfilms, Inc. Ann Arbor, Michigan 48106 Library of Congress Cataloging in Publication Data Benson, Timothy O., 1950- Raoul Hausmann and Berlin Dada. (Studies in the fine arts. The Avant-garde ; no. 55) Revision of author’s thesis (Ph D.)— University of Iowa, 1985. Bibliography: p. Includes index. I. Hausmann, Raoul, 1886-1971—Aesthetics. 2. Hausmann, Raoul, 1886-1971—Political and social views.
  • Download the Latest SC Films Brochure

    Download the Latest SC Films Brochure

    SPRING 2021 INTRODUCTION SC LIVE ACTION SC ANIMATION SC TELEVISION SC Films specialises in international film sales, SC Films has a catalogue of over 50 live features SC Films represents the very best of independent animated We are looking for high quality television productions for co-production, for home entertainment and television. features from all over the World. funding and distribution. distribution, finance and film production. SC Films is based in London and was founded by Simon See scfilmsinternational.com for more details. See scfilmsinternational.com for more details. Crowe and tech entrepreneur, Matthew Joynes in 2008. SC Films focus on 4–5 theatrical films per year, working closely with producers and financiers to secure finance and maximise revenues worldwide. 2020 was a very challenging year for independent film but we all hope 2021 will be far more exciting and safer. 2021 will be a busy year for SC Films with releases including animated features MARMADUKE, ABSOLUTE DENIAL, MY FATHER’S SECRETS, BEST BIRTHDAY EVER and live action feature GENSAN PUNCH (from award-winning director Brilliante Mendoza). 2022 releases will include Chinese-Spanish animated feature DRAGONKEEPER. SC Films International Ltd 16 Beaufourt Court Admirals Way Canary Wharf London E14 9XL United Kingdom e [email protected] w scfilmsinternational.com COCKNEYS VS ZOMBIES | RETREAT | GREEN STREET: HOOLIGANS UNDERGROUND MARMADUKE | PACHAMAMA CANDY BOMBER More information: scfilmsinternational.com Credits Not Contractual Credits Not Contractual More information: scfilmsinternational.com 3 STATUS GENRE WRITER DIRECTOR PRODUCERS In Production Family Animation Byron Kavanagh Mark A.Z. Dippé Legacy Classics, Andrews McMeel Ent, (Canada) (CBS’ MICHAEL JACKSON’S HALLOWEEN, OneCool, Bridget McMeel, Tim Peternel MARMADUKE Delivery Q2 2021 THE REEF 2) and Youngki Lee Family animated adventure based on the classic comic strip.
  • Look Homeward, Angel Excerpt- Chapter 8 Thomas Wolfe Bullied At

    Look Homeward, Angel Excerpt- Chapter 8 Thomas Wolfe Bullied At

    Look Homeward, Angel Excerpt- Chapter 8 Thomas Wolfe Bullied At school, [Eugene] was a desperate and hunted little animal. The herd, infallible in its banded instinct, knew at once that a stranger had been thrust into it, and it was merciless at the hunt. As the lunch-time recess came, Eugene, clutching his big grease-stained bag, would rush for the playground pursued by the yelping pack. The leaders, two or three big louts of advanced age and deficient mentality, pressed closely about him, calling out suppliantly, "You know me, 'Gene. You know me"; and still racing for the far end, he would open his bag and hurl to them one of his big sandwiches, which stayed them for a moment, as they fell upon its possessor and clawed it to fragments, but they were upon him in a moment more with the same yelping insistence, hunting him down into a corner of the fence, and pressing in with outstretched paws and wild entreaty. He would give them what he had, sometimes with a momentary gust of fury, tearing away from a greedy hand half of a sandwich and devouring it. When they saw he had no more to give, they went away. Look Homeward, Angel Excerpts- Chapter 9 Wolfe the Bully Example #1 Eugene had no interest in pogroms, but it was a fetich with Max. The chief object of their torture was a little furtive-faced boy, whose name was Isaac Lipinski. They pounced cattishly at him when he appeared, harried him down alleys, over fences, across yards, into barns, stables, and his own house; he moved with amazing speed and stealth, escaping fantastically, teasing them to the pursuit, thumbing his fingers at them, … Example #2 But the whiteheaded children of Pigtail Alley they hated without humor, without any mitigation of a most bitter and alienate hate.