Artist

Thomas Wilmer Dewing

born Boston, MA 1851-died New York City 1938
Also known as
  • Thomas W. Dewing
  • T. W. Dewing
  • Thomas Dewing
Born
Boston, Massachusetts, United States
Died
New York, New York, United States
Biography

Born in Boston, studied in Paris, settled in New York City. A sensitive figure painter and accomplished draftsman who specialized in ethereal pictures of women; he virtually ceased painting after 1920.

Charles Sullivan, ed American Beauties: Women in Art and Literature (New York: Henry N. Abrams, Inc., in association with National Museum of American Art, 1993)

Works by this artist (24 items)

Thomas Wilmer Dewing, Lady in White (No. 2), ca. 1910, oil on canvas, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.30
Lady in White (No. 2)
Dateca. 1910
oil on canvas
On view
Thomas Wilmer Dewing, The Spinet, ca. 1902, oil on wood, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.41
The Spinet
Dateca. 1902
oil on wood
On view
Thomas Wilmer Dewing, A Reading, 1897, oil on canvas, Smithsonian American Art Museum, Bequest of Henry Ward Ranger through the National Academy of Design, 1948.10.5
A Reading
Date1897
oil on canvas
On view
Thomas Wilmer Dewing, Spring, 1890, oil on canvas, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.31
Spring
Date1890
oil on canvas
On view

Related Books

Book cover of American Impressionists
American Impressionism: Treasures from the Smithsonian American Art Museum
American Impressionism: Treasures from the Smithsonian American Art Museum commemorates Treasures to Go, a series of eight exhibitions from the Smithsonian American Art Museum, touring the nation through 2002. The Principal Financial Group is a proud partner in presenting these treasures to the American people.
graphic_500.jpg
Graphic Masters: Highlights from the Smithsonian American Art Museum
Graphic Masters celebrates the extraordinary variety and accomplishment of American artists’ works on paper. Exceptional watercolors, pastels, and drawings from the 1860s through the 1990s reveal the central importance of works on paper for American artists, both as studies for creations in other media and as finished works of art. Traditionally a more intimate form of expression than painting or sculpture, drawings often reveal greater spontaneity and experimentation. Even as works on paper become larger and more finished, competing in scale with easel paintings, they retain a sense of the artist’s hand, the immediacy of a thought made visible.