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Dewing is one of those figures who summarize an age, and in his art may be seen an original distillation of many later nineteenth-century tastes and preoccnpations: Victorian idealism and illusion, fin-de-siecle nostalgia and wistfulness, an aestheticism joined to poetic and musical sensibilities, and shapes of the real world treated as vehicles of either personal or universal meaning." - John Wilmerding, 1976
Dewing, like RYDER, evades most categories. In fact, comparing him with Ryder yields an interesting juxtaposition. Where Ryder built up layer upon layer of thick dark paints to create strangely threatening, moonlit landscapes, Dewing lightly brushed his landscapes with pale, filmy vapors: greens, blues, pinks, pallid taupes. The black figures in Ryder's landscapes are almost grotesque, gesticulating silhouettes. Dewing's figures are equally anonymous, but they are graceful, elegant, ethereal women who float, dreamlike, in his misty landscapes (e.g., Summer, c. ~. 1890). Dewing's paintings, like those of WHISTLER and INNESS, were impressionistic, but not in the studied sense of the IMPRESSIONIST movement. Dewing was interested in illusion and mood. The well-dressed, upper-class, idle women who populate his canvases, as they did many other contemporary pictures, were known as "decorative." The historian Wilmerding, quoted above, situates Dewing in time and place. His scenes should also be understood in the context of a period during which, in fact, many women were struggling for and insisting on an opportunity to do more than stand around looking like beautiful ornaments. Interestingly, Thomas Dewing married a painter, Maria Oakey (see Maria Oakey DEWING).
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