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An exhibition of Arthur Wesley Dow's presented by the Spanierman Gallery, LLC, explores Dow as an artist, revealing him as a distinguished painter, printmaker, and photographer. The show also approaches Dow as a teacher, providing an opportunity to evaluate the breadth of his influence.
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Arthur Efland puts current debate and concerns in a well-researched historical perspective. He examines the institutional settings of art education throughout Western history, the social forces that have shaped it, and the evolution and impact of alternate streams of influence on present practice.A History of Art Education is the first book to treat the visual arts in relation to developments in general education. Particular emphasis is placed on the 19th and 20th centuries and on the social context that has affected our concept of art today. This book will be useful as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a valuable resource for students, professors, and researchers. “The book should become a standard reference tool for art educators at all levels of the field.” —The Journal of Aesthetics and Art Criticism “Efland has filled a gap in historical research on art education and made an important contribution to scholarship in the field.” —Studies in Art Education
"The full range of Dow's creative genius is represented in this volume, reproduced in color." "Two authoritative essays explore Dow's influence and his place within the arts and crafts community of his time."--BOOK JACKET.
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.
The ideas, people, and events that developed art education are described and analyzed so that art educators and educators in general will have a better understanding of what has happened (and is happening) to visual art in the schools. Peter Smith raises the issue of art education's inordinate emphasis on Eurocentric art. He challenges the often expressed notion that the field of education is the cause of art education's problems and proposes that confused conceptions within the art world are just as much a root of the difficulty. No other book in art education history gives such close and analytical attention to the careers of women in the field. The materials on Germanic cultural and historical influences are unequaled as is the scholarly treatment of Viktor Lowenfeld, probably the most influential single figure in 20th-century American art education.