My featured articles provide deep dives into certain art topics. You can expect a new article every fortnight. Subscribe to my newsletter to be notified. You can also find a list of everything I have published on this page.
18" x 27" Arthur Wesley Dow Marsh Creek removable and repositionable peel and stick wall decal produced to meet museum quality standards. Our wall decal stickers are produced using high-precision print technology for a more accurate reproduction printed with fade-resistant, archival inks, printed on high quality water-resistant satin cloth fabric backed with a repositionable, removable adhesive designed for easy, no hassle application to a wide variety of flat surfaces. We present a comprehensive collection of exceptional wall decal reproductions by Arthur Wesley Dow. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints Material is a wrinkle-resistant, tear-resistant, water-resistant fabric, not water proof, intended for indoor use Made in the USA, at our Florida production facility, shipped unframed and rolled in a protective shipping tube.
Arthur Wesley Dow - "The Derelict" or "The Lost Boat"We print high quality reproductions of historical maps, photographs, prints, etc. Because of their historical nature, some of these images may show signs of wear and tear - small rips, stains, creases, etc. We believe that in many cases this contributes to the historical character of the item.
21" x 28" Arthur Wesley Dow The Destroyer removable and repositionable peel and stick wall decal produced to meet museum quality standards. Our wall decal stickers are produced using high-precision print technology for a more accurate reproduction printed with fade-resistant, archival inks, printed on high quality water-resistant satin cloth fabric backed with a repositionable, removable adhesive designed for easy, no hassle application to a wide variety of flat surfaces. We present a comprehensive collection of exceptional wall decal reproductions by Arthur Wesley Dow. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints Material is a wrinkle-resistant, tear-resistant, water-resistant fabric, not water proof, intended for indoor use Made in the USA, at our Florida production facility, shipped unframed and rolled in a protective shipping tube.
Arthur Wesley Dow (1857, Ipswich, MA – 1922, NYC, NY) should be more widely recognized as a leader on the American art scene of the late-19th and early-20th centuries. He worked in watercolor, oils and ink, was a printmaker, a photographer and a lifelong designer. But his real influence was carried forward by his students. While...
Let's take a closer look at Cosmic Cities by Arthur Wesley Dow. You can learn more about the painting here - Draw Paint Academy.
83 p. : 28 cm
20" x 25" Arthur Wesley Dow Hillside Pool removable and repositionable peel and stick wall decal produced to meet museum quality standards. Our wall decal stickers are produced using high-precision print technology for a more accurate reproduction printed with fade-resistant, archival inks, printed on high quality water-resistant satin cloth fabric backed with a repositionable, removable adhesive designed for easy, no hassle application to a wide variety of flat surfaces. We present a comprehensive collection of exceptional wall decal reproductions by Arthur Wesley Dow. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints Material is a wrinkle-resistant, tear-resistant, water-resistant fabric, not water proof, intended for indoor use Made in the USA, at our Florida production facility, shipped unframed and rolled in a protective shipping tube.
Heading far west to paint the Grand Canyon in 1911 and 1912, Arthur Wesley Dow was, as usual, thinking about the Far East. For 20 years, Dow had applied the forms and harmonies of Asian art to small New England scenes, and now he had to wonder whether the trusty principles of Japonisme could help . . . Keep reading »
Today's painting inspiration is Spring Landscape by Arthur Wesley Dow. Arthur Wesley Dow, Spring Landscape, 1892 Some key observations: There's a pleasant contrast between the intricate trees and the flat color shapes of the greenery, sky, and path. Notice how the trees inject clarity into the painting and command attention. They also give context to
83 p. : 28 cm
MOOD INDIGO From the porch; from the hayrick where her prickled brothers hid and chortled and slurped into their young pink lungs the ash-blond dusty air that lay above the bales like low clouds; and from the squeak and suck of the well-pump and from the glove of rust it implied on her hand; from the dress parade of clothes in her mothproofed closet; from her tiny Philco with its cracked speaker and Sunday litany (Nick Carter, The Shadow, The Green Hornet, Sky King); from the loosening bud of her body; from hunger, as they say, and from reading; from the finger she used to dial her own number; from the dark loam of the harrowed fields and from the very sky; it came from everywhere. Which is to say it was always there, and that it came from nowhere. It evaporated with the dew, and at dusk when dark spread in the sky like water in a blotter, it spread, too, but it came back and curdled with milk and stung with nettles. It was in the bleat of the lamb, the way a clapper is in a bell, and in the raucous, scratchy gossip of the crows. It walked with her to school and lay with her to sleep and at last she was pleased. If she were to sew, she would prick her finger with it. If she were to bake, it would linger in the kitchen like an odor snarled in the deepest folds of childhood. It became her dead pet, her lost love, the baby sister blue and dead at birth, the chill headwaters of the river that purled and meandered and ran and ran until it issued into her, as into a sea, and then she was its and it was wholly hers. She kept to her room, as we learned to say, but now and then she'd come down and pass through the kitchen, and the screen door would close behind her with no more sound than an envelope being sealed, and she'd walk for hours in the fields like a lithe blue rain, and end up in the barn, and one of us would go and bring her in. (1970) William Matthews American illustrator, painter, and printmaker Campbell Grant was born in 1909. After grad- uation from Oakland High School, he entered the California College of Arts and Crafts. In 1930 he received a scholarship to attend the Santa Barbara School of the Arts where he learned the techniques of color woodcut from Frank Morley Fletcher. Following his studies at Santa Barbara, he spent twelve years in Hollywood at Walt Disney Studios as a story director and animator. Campbell exhibited with the Painters and Sculptors of Los Angeles in 1934 and the Public Works of Art Project that same year. 1 Allen W. Seaby was also a student of Frank Morley Fletcher.
(Unabridged and fully illustrated.) Arthur Wesley Dow was an American painter, printmaker, photographer, and influential arts educator. He taught many of America's leading artists and craftspeople, including Georgia O'Keeffe, two of the Overbeck Sisters and the Byrdcliffe Colony. Dow was largely inspired by Japanese art to this work on Compositionn.
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Let’s take a closer look at Arthur Wesley Dow’s Cosmic Cities. (What a name, hey!) Dow was an American artist and teacher, though it seems he is more known for his teaching. One of his students was Jane Peterson, who I wrote about last month. He also taught Georgia O'Keeffe. But enough about his students.
18" x 27" Arthur Wesley Dow Among the Sand Hills removable and repositionable peel and stick wall decal produced to meet museum quality standards. We present a comprehensive collection of exceptional wall decal reproductions by Arthur Wesley Dow. Our wall decal stickers are produced using high-precision print technology for a more accurate reproduction printed with fade-resistant, archival inks, printed on high quality water-resistant satin cloth fabric backed with a repositionable, removable adhesive designed for easy, no hassle application to a wide variety of flat surfaces. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints Material is a wrinkle-resistant, tear-resistant, water-resistant fabric, not water proof, intended for indoor use Made in the USA, at our Florida production facility, shipped unframed and rolled in a protective shipping tube.
MOOD INDIGO From the porch; from the hayrick where her prickled brothers hid and chortled and slurped into their young pink lungs the ash-blond dusty air that lay above the bales like low clouds; and from the squeak and suck of the well-pump and from the glove of rust it implied on her hand; from the dress parade of clothes in her mothproofed closet; from her tiny Philco with its cracked speaker and Sunday litany (Nick Carter, The Shadow, The Green Hornet, Sky King); from the loosening bud of her body; from hunger, as they say, and from reading; from the finger she used to dial her own number; from the dark loam of the harrowed fields and from the very sky; it came from everywhere. Which is to say it was always there, and that it came from nowhere. It evaporated with the dew, and at dusk when dark spread in the sky like water in a blotter, it spread, too, but it came back and curdled with milk and stung with nettles. It was in the bleat of the lamb, the way a clapper is in a bell, and in the raucous, scratchy gossip of the crows. It walked with her to school and lay with her to sleep and at last she was pleased. If she were to sew, she would prick her finger with it. If she were to bake, it would linger in the kitchen like an odor snarled in the deepest folds of childhood. It became her dead pet, her lost love, the baby sister blue and dead at birth, the chill headwaters of the river that purled and meandered and ran and ran until it issued into her, as into a sea, and then she was its and it was wholly hers. She kept to her room, as we learned to say, but now and then she'd come down and pass through the kitchen, and the screen door would close behind her with no more sound than an envelope being sealed, and she'd walk for hours in the fields like a lithe blue rain, and end up in the barn, and one of us would go and bring her in. (1970) William Matthews American illustrator, painter, and printmaker Campbell Grant was born in 1909. After grad- uation from Oakland High School, he entered the California College of Arts and Crafts. In 1930 he received a scholarship to attend the Santa Barbara School of the Arts where he learned the techniques of color woodcut from Frank Morley Fletcher. Following his studies at Santa Barbara, he spent twelve years in Hollywood at Walt Disney Studios as a story director and animator. Campbell exhibited with the Painters and Sculptors of Los Angeles in 1934 and the Public Works of Art Project that same year. 1 Allen W. Seaby was also a student of Frank Morley Fletcher.
Arthur Wesley Dow (1857, Ipswich, MA – 1922, NYC, NY) should be more widely recognized as a leader on the American art scene of the late-19th and early-20th centuries. He worked in watercolor, oils and ink, was a printmaker, a photographer and a lifelong designer. But his real influence was carried forward by his students. While...
Our newest addition to the gallery, 'Sunset Boat', resonates with the tranquil essence and simplicity championed by Arthur Wesley Dow, a pivotal figure in American art who believed in harmonizing composition through line, color, and notan – the juxtaposition of light and dark. This piece is inherently meditative, featuring a solitary rowboat on a placid water body, the very image evoking a sense of solitude and peace. Color plays a pivotal role; the warm palette surrounding the central subject reflects the ethereal glow of a sunset, and the subtle gradations of orange, pink, and purple in the sky suggest a profound connection with nature. The boat, centered yet small against the vastness of water and sky, symbolizes the individual's journey through life, a lone navigator amidst the boundless elements. Crafted with a delicate balance of form and hue, the artwork pays homage to Dow's interpretation of Japanese art, which he so passionately integrated into his teachings and creations. The simplicity in 'Sunset Boat' is profound yet poetic, drawing the viewer into a contemplative state. The horizon line, a delicate whisper where water meets sky, serves as the foundational axis around which the elements of the piece harmonize, a hallmark of Dow's influence in bridging Eastern and Western art philosophies. It's a masterful canvas print that invites introspection and admiration alike. The commissioning of custom pieces like 'Sunset Boat' offers a personal connection for clients seeking a unique artwork tailored to their aesthetic preferences. Infusing elements reminiscent of revered artists like Dow, our custom pieces not only capture the essence of the art historical influences but also bring an innovative perspective to contemporary spaces. These custom canvases become treasured focal points, sparking conversation and introspection while honoring the art movements that shape their execution.
MOOD INDIGO From the porch; from the hayrick where her prickled brothers hid and chortled and slurped into their young pink lungs the ash-blond dusty air that lay above the bales like low clouds; and from the squeak and suck of the well-pump and from the glove of rust it implied on her hand; from the dress parade of clothes in her mothproofed closet; from her tiny Philco with its cracked speaker and Sunday litany (Nick Carter, The Shadow, The Green Hornet, Sky King); from the loosening bud of her body; from hunger, as they say, and from reading; from the finger she used to dial her own number; from the dark loam of the harrowed fields and from the very sky; it came from everywhere. Which is to say it was always there, and that it came from nowhere. It evaporated with the dew, and at dusk when dark spread in the sky like water in a blotter, it spread, too, but it came back and curdled with milk and stung with nettles. It was in the bleat of the lamb, the way a clapper is in a bell, and in the raucous, scratchy gossip of the crows. It walked with her to school and lay with her to sleep and at last she was pleased. If she were to sew, she would prick her finger with it. If she were to bake, it would linger in the kitchen like an odor snarled in the deepest folds of childhood. It became her dead pet, her lost love, the baby sister blue and dead at birth, the chill headwaters of the river that purled and meandered and ran and ran until it issued into her, as into a sea, and then she was its and it was wholly hers. She kept to her room, as we learned to say, but now and then she'd come down and pass through the kitchen, and the screen door would close behind her with no more sound than an envelope being sealed, and she'd walk for hours in the fields like a lithe blue rain, and end up in the barn, and one of us would go and bring her in. (1970) William Matthews American illustrator, painter, and printmaker Campbell Grant was born in 1909. After grad- uation from Oakland High School, he entered the California College of Arts and Crafts. In 1930 he received a scholarship to attend the Santa Barbara School of the Arts where he learned the techniques of color woodcut from Frank Morley Fletcher. Following his studies at Santa Barbara, he spent twelve years in Hollywood at Walt Disney Studios as a story director and animator. Campbell exhibited with the Painters and Sculptors of Los Angeles in 1934 and the Public Works of Art Project that same year. 1 Allen W. Seaby was also a student of Frank Morley Fletcher.
