Arthur Wesley Dow – författare

A mentor to Georgia O'Keeffe, Dow literally "wrote the book" on composition. First published in 1899, this manual influenced generations of teachers and students. Relevant to all of the visual arts, it employs a workbook format to impart principles regarding harmonic relations between lines, color, and dark and light patterns.

First published in 1899, Arthur Wesley Dow's "Composition" has probably influenced more Americans than any other text to think of visual form and composition in relation to artistic modernity. While Dow is known as the mentor of Georgia O'Keeffe and Max Weber, his legacy as a proponent of modern art has suffered undeserved neglect by recent artists and art historians. In "Composition" Dow develops a system for teaching students to create freely constructed images on the basis of harmonic relations between lines, colors, and dark and light patterns. Greatly influenced by Japanese art, he expounds a theory of "flat" formal equilibrium as an essential component of telling pictorial creation. Generations of teachers and their public school pupils learned from Dow's orientalism and adopted basic postimpressionist principles without even knowing the term. The reappearance of Dow's practical, well-illustrated guide, enhanced by Joseph Masheck's discussion of its historical ramifications, is an important event for all concerned with the visual arts and the intellectual antecedents of American modernism.

First published in 1899, Arthur Wesley Dow''s Composition has probably influenced more Americans than any other text to think of visual form and composition in relation to artistic modernity. While Dow is known as the mentor of Georgia O''Keeffe and Max Weber, his legacy as a proponent of modern art has suffered undeserved neglect by recent artists and art historians.In Composition Dow develops a system for teaching students to create freely constructed images on the basis of harmonic relations between lines, colors, and dark and light patterns. Greatly influenced by Japanese art, he expounds a theory of "flat" formal equilibrium as an essential component of telling pictorial creation. Generations of teachers and their public school pupils learned from Dow''s orientalism and adopted basic postimpressionist principles without even knowing the term. The reappearance of Dow''s practical, well-illustrated guide, enhanced by Joseph Masheck''s discussion of its historical ramifications, is an important event for all concerned with the visual arts and the intellectual antecedents of American modernism.First published in 1899, Arthur Wesley Dow''s Composition has probably influenced more Americans than any other text to think of visual form and composition in relation to artistic modernity. While Dow is known as the mentor of Georgia O''Keeffe and

In writing this book my main purpose is to set forth a way of thinking about art. The most that such a book can do is to direct the thoughts, awaken a sense of power and point to ways of controlling it.The principles of art teaching here outlined might be illustrated in other ways and with better examples. I hope the reader will see how each chapter can be developed into many sets of lessons. The progressions can be varied, materials changed, lessons amplified and different designs chosen, providing there is no sacrifice of essentials. The book is based upon my experience in painting and teaching for more than twenty years. The first edition of Composition was published in 1899. In this revision I have made many additions and used new illustrations without departing from theory or principles. Composition was chosen as a title because that word expresses the idea upon which the method here presented is founded—the "putting together" of lines, masses and colors to make a harmony. Design, understood in its broad sense, is a better word, but popular usage has restricted it to decoration...