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Reed, Doel

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Reed-Doel-NM-Landscape-unframed Untitled New Mexico Landscape 1952 Aquatint on paper Ed. 11/25 18 1/2 x 23 1/4 inches (framed) 11 1/2 x 18 inches (sight) Signed in pencil: lower right
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Reed-Doel---Picuris-Pueblo-Winter-1954-edit Picuris Pueblo Winter 1954 Aquatint on paper 10 1/4 x 15 3/4 inches Signed: lower right in pencil
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Reed Doel - Spring Storm 1980 unframed Spring Storm 1980 14 3/4 x 27 3/4 inches Casein Signed & dated: lower right
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Reed-Doel---Volcanic-Structure-unframed Volcanic Structures Oil on Canvas 25 x 40 inches Signed: lower left
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Reed=Doel---Pictographs-and-Driftwood-1953 Pictographs and Landscape, 11/25 Aquatint on paper 12 1/2 x 18 inches Signed: lower right
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doel-reed-untitled-reclining-woman Untitled-Reclining Woman, 10/25 Aquatint on paper 10 x 19 inches Signed: lower right
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Reed-Doel---Mesas-and-Adobes-unframed Adobes and Mesas Oil on linen canvas 30 x 36 inches Signed: lower left
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Reed-Doel-NM-Landscape-unframed
Reed-Doel---Picuris-Pueblo-Winter-1954-edit
Reed Doel - Spring Storm 1980 unframed
Reed-Doel---Volcanic-Structure-unframed
Reed=Doel---Pictographs-and-Driftwood-1953
doel-reed-untitled-reclining-woman
Reed-Doel---Mesas-and-Adobes-unframed
aa Seeking-Works-image
Doel Reed was born near the turn of the century in 1894. He was a Midwestern boy who took art classes at the John Herron Art Museum in Indianapolis. Reed worked as an architectural apprentice for four years and then went off to Cincinnati and enrolled in the Art Academy. Joseph Sharp was one of the faculty. The school gave him a classical education emphasizing the principles of drawing and painting. Reed did go to Europe
but not to further his artistic career. World War I was his reason and he was exposed to mustard gas almost losing his eyesight and leaving him with permanent lung damage.

He returned to Cincinnati and the Art Academy. The teacher L.H. Meaken gave Reed his only formal training in the graphic arts. He watched Meaken print from the plates of Frank Duveneck. During this time he studied Francisco Goya’s aquatints and turned to print making.

His respiratory problems led him to move to a drier climate and he accepted a teaching position at Oklahoma A & M College (now Oklahoma State University). He was basically given the reins to develop the art curriculum. His expertise on printmaking helped distinguish the department from others in the region. The students and faculty lionized him,

Reed took every chance to travel and follow the trends in art, always drawing and sketching. His journeys took him to Nova Scotia, France and Mexico. During the fuel rationing of WWII, he stayed closer to home and traveled the southwest, spending time in Taos. When he retired in 1959, he moved to there. to spend the remainder of his life. Reed fell in love with the landscape and its people. His work during this time led him to be one of the premier painters and printmakers of his time. He was elected to the National Academy of Design for graphic arts in 1952 and wrote a book called “Doel Reed Makes an Aquatint.”

Reed’s work is in the collection of the Carnegie Institute, the Metropolitan Museum of Art, the Museum of Fine Art, Houston, Southern Methodist University, the Library of Congress, New York Public Library, the Oklahoma Art Club, the Philadelphia Museum of Art, the University of Tulsa, the Seattle Art Museum, the Honolulu Academy of Art, Grinnell College, La Biblioteque Nationale, Paris and the Victoria and Albert Museum, London.

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