In 1891 Arthur Wesley Dow began to engage seriously with the formal elements of Japanese art in his prints and oil paintings. In works such as Boats at Rest, he depicted locales around his native Ipswich, Massachusetts, using the radical cropping, elevated perspective, and flattened pictorial space characteristic of ukiyo-e (Japanese woodblock) prints. His palette of bold colors, however, is more akin to the work of French Post-Impressionist artists such as Émile Bernard and Paul Gauguin. Dow’s Japanese-inspired theories of composition, which he outlined both in his publications and in the classes he taught at the Ipswich Summer School of Art and the Pratt Institute in Brooklyn, were immensely influential to artists and designers working in both two and three dimensions.