#arthurwesleydow

"The Derelict" or "The Lost Boat", Arthur Wesley Dow, 1916, American Paintings and Sculpture

The Morse Family Foundation Fund, 2016 Size: Image: 5 9/16 × 3 7/8 in. (14.1 × 9.8 cm) Sheet: 6 13/16 × 4 15/16 in. (17.3 × 12.5 cm) Medium: Color woodcut

Boats at Rest, Arthur Wesley Dow, 1895, Art Institute of Chicago: American Art

In 1891 Arthur Wesley Dow began to engage seriously with the formal elements of Japanese art in his prints and oil paintings. In works such as Boats at Rest, he depicted locales around his native Ipswich, Massachusetts, using the radical cropping, elevated perspective, and flattened pictorial space characteristic of ukiyo-e (Japanese woodblock) prints. His palette of bold colors, however, is more akin to the work of French Post-Impressionist artists such as Émile Bernard and Paul Gauguin. Dow’s Japanese-inspired theories of composition, which he outlined both in his publications and in the classes he taught at the Ipswich Summer School of Art and the Pratt Institute in Brooklyn, were immensely influential to artists and designers working in both two and three dimensions. Through prior acquisition of the Charles H. and Mary F. S. Worcester Collection Size: 66 × 91.4 cm (26 × 36 in.) Medium: Oil on canvas

Untitled (landscape), Arthur Wesley Dow, c. 1895, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Anonymous Loan Size: image: 11.8 x 17 cm (4 5/8 x 6 11/16 in.) sheet: 12.5 x 17.6 cm (4 15/16 x 6 15/16 in.)

The Destroyer, Arthur Wesley Dow, c. 1911–13, Minneapolis Institute of Art: Paintings

view of the Grand Canyon; purples in the foreground, oranges in background; blue and purple shades in sky Dow traveled the American Southwest in 1911 and 1912, documenting the Grand Canyon. His unusual painting style fused an appreciation for Japanese woodblock prints—gained from his days as a curator of Japanese art in Boston—with the simplicity of the American Arts and Crafts movement. In this work, his use of color and visible brushstrokes emphasizes the immensity of the vast, exotic landscape of the Southwest. Size: 40 x 29 15/16 in. (101.6 x 76.04 cm) (sight) 47 1/2 x 37 3/8 in. (120.65 x 94.93 cm) (outer frame) Medium: Oil on canvas

View of Ipswich, or A Bend in the River by Arthur Wesley Dow, Drawings and Prints

Medium: Color woodcut

Gift of Mrs. W. L. Putnam, 1942 Metropolitan Museum of Art, New York, NY

The Destroyer, Arthur Wesley Dow, c. 1911–13, Minneapolis Institute of Art: Paintings

view of the Grand Canyon; purples in the foreground, oranges in background; blue and purple shades in sky Dow traveled the American Southwest in 1911 and 1912, documenting the Grand Canyon. His unusual painting style fused an appreciation for Japanese woodblock prints—gained from his days as a curator of Japanese art in Boston—with the simplicity of the American Arts and Crafts movement. In this work, his use of color and visible brushstrokes emphasizes the immensity of the vast, exotic landscape of the Southwest. Size: 40 x 29 15/16 in. (101.6 x 76.04 cm) (sight) 47 1/2 x 37 3/8 in. (120.65 x 94.93 cm) (outer frame) Medium: Oil on canvas

"The Derelict" or "The Lost Boat", Arthur Wesley Dow, 1916, American Paintings and Sculpture

Gift of the Dowd-Gallogly Family and Allan E. Dowd, 2016 Size: Image: 5 5/8 × 3 7/8 in. (14.3 × 9.8 cm) Sheet: 6 7/8 × 5 1/4 in. (17.5 × 13.3 cm) Medium: Color woodcut; proof of key block printed on semi-translucent paper

Nabby's Point, Arthur Wesley Dow, ca. 1913, American Paintings and Sculpture

Gift of the Dowd-Gallogly Family and Allan E. Dowd, 2016 Size: Image: 2 5/16 × 3 7/8 in. (5.9 × 9.8 cm) Sheet: 2 15/16 × 4 13/16 in. (7.5 × 12.2 cm) Medium: Color woodcut; trial proof on cream paper