Stop #1: The Dove Block Project
Our tour begins at the Dove Block on Exchange Street, an important building in Arthur Dove’s life and an important building for historic downtown Geneva. The building, which features an ornate three-story structure and cast iron storefront, was designed by Rochester architect Andrew Jackson Warner. The high Victorian commercial block was then commissioned and built by William G. Dove, Arthur Dove’s father. Arthur’s brother, Paul Dove, operated the building until 1978.
For more than a hundred years, the first floor store front was used by various Geneva businesses, pictured above. The upper floors housed many things including an auditorium, a roller skating rink, a National Guard drill hall, a gym for professional wrestling and boxing matches, a radio station, and a dance hall. In the 1890’s, the block was known as “Dove’s Opera House” and was a performance venue for touring operas and acting troupes.
In 1937, what would be their final year in Geneva, Arthur Dove and his wife, Helen Torr, moved to the third-floor of the Dove Block. It became the largest studio that he would ever occupy. He reveled in the amount of space he had, even skating around the perimeter between painting sessions (Paul Dove, “Notes Relative to Arthur G. Dove”). Having a studio at the Dove Block allowed Dove to work exclusively on his drawings and paintings and he was particularly productive during this year. He painted nearly a hundred of what are seen today as his most acclaimed works in this space.
In a letter to his friend and art dealer, Alfred Stieglitz, Dove wrote:
“We overlook the lake from the rear and are on one of the city’s main corners on two other sides which have 19 windows ten feet high so we have light–and heat. And a fine roof on top which we haven’t had time to see as yet” (Dove to Stieglitz, prop. after May 17, 1937; Morgan 1988, 379).
The photo below depicts the south wall of Dove’s studio on the third floor of the Dove Block, taken in 1938. The wall has been recreated and staged with prints of Dove’s paintings which can be viewed at the Dove Block today.
Claire Kapitan, WS‘24
Stop #2: Long Pier
In the 1930s, the long pier in Geneva served as a bustling place of interaction and industry that would inspire many of Dove’s works.
When first faced with the possibility of relocating to Geneva to settle his family’s estate, Dove was ambivalent. He found Geneva to be provincial and a boring alternative to life in New York City. In a letter to his friend and art dealer, Alfred Stieglitz, he wrote:
“Could work up there. It is good painting ground. Many lakes and if we can sell house we may all live on the farms–plenty of houses and room to be apart, barns, studio, etc. Everything built to last forever… I can get enough to eat out of the land there–have proved that. –The paintings ought to pay for paint” (Dove to Stieglitz, Jan 29, 1933; Morgan 1988, 265).
In other letters, ambivalence or optimism becomes dread:
“The dread of going there is almost an obsession…There is something terrible about ‘Up State’ to me. I mean that part anyway. It is like walking on the bottom underwater” (Ibid,, June 1933; Morgan 1988, 276).
This ambivalence or resistance to the landscapes of Geneva becomes ironic in the face of Dove’s career, since Geneva fueled his productivity, intensity, and identity as an artist. In the summer and autumn of 1937, Dove was inspired by the new subjects he found in Geneva’s industrial and urban development along Seneca Lake: Motor Boat, Flour Mill 1, Flour Mill 11, Power Plant, and Shore Front. These paintings explore dynamic compositions along the lake, abstracting elements of nature in conversation with industry.
Take in the vibrant colors of these paintings, and then see their inspiration. Dove was able to transform his setting, using the long pier and Seneca Lake as a launching pad for invention.
Claire Kapitan, WS‘24
Stop #3: Willow Trees on Seneca Lake
The willows along Seneca Lake offered Dove the atmosphere he needed to explore new, unpredictable color relationships and organic shape arrangements. Elements within his landscape paintings seem to fluctuate with the tides of his imagination. His paintings are energetic at times, and quiet at others. In his painting of willows on Seneca Lake, Dove explores light with a renewed sense of awareness to the vibrations and subtleties of nature. He did not paint to merely describe the light, but to capture the speed and sensation of it. He is concerned with matter and energy.
These paintings of willows also demonstrate Dove’s exploration of color. He had returned to oil painting with the intent to “try and make oil paint beautiful in itself with no further wish.” (Ibid. Feb 1, 1932; Morgan 1988, 237). He ground his own color from pigments and even primed his own canvases on occasion. There’s a weight and denseness to these oil paintings in juxtaposition with the ease and freedom of his watercolors.
These paintings of willows also mark the beginnings of his abstractions. Dove’s 1937 show at An American Place was filled with water swirls, suns, moons, and trees–free expressions of light and form. There is a new maturity or “sureness of touch” that is evident in these works. (Anderson to Dove, April 12, 1937, The Alfred Stieglitz and Georgia O’Keeffe Archives, manuscript 85, series 1, box 2, Yale Collection of American Literature).
Imagine you are standing by the water, watching the branches of these willows move with the wind. Maybe you can understand the sensitivity and imagination that was needed to transform these trees into the energetic, swirled forms of Dove’s Willows.
Claire Kapitan, WS‘24
Stop #4: St. Peter’s Spire
St. Peter's Episcopal Church was built between 1868 and 1870. The Tower was added to the church in 1878. The church was designed by theAmerican architect Richard Upjohn and the tower by his son, Richard M. Upjohn.. The gothic revival architecture still remains to be one of the tallest buildings in the city, towering over the local parks and homes surrounding the church. Pyramidal points of the spire, along with other prominent elements such as ornate stained glass windows and crowned support arches, reflected initial desires to make religion a central ideology within the community. The scale and depth of St. Peter's highlight the prominence of the spire, reflecting back on a time when Arthur Dove would record the city scape from far distances- even as far as his downtown studio. The geometry of the spire's peaks is offset by the soft round shape of the trees. Dove uses a dry brush watercolor technique, bringing leaf like texture and light to the foliage. Heavily inked linework accentuates the various contours and shapes captured in t h e scenery.
Zooey Gastelo, WS’25
Stop #5: North Farmhouse
After the death of his mother in 1933, Arthur Dove moved back to Geneva, New York where he assumed a series of family farm properties along Lyons Road. The rural environment that Geneva provided was a source of inspiration for Dove; the livestock and stretches of agricultural land that made up the landscape became the subjects of various abstractional studies and paintings that he would later become famous for.
Goat, The Other Farm, and Weather Vane are three unique works that highlight the relationship of animals and common farming objects to their surrounding environment. Color schemes during this period of Dove’s life stayed true to colors found in nature– soil, rust, foliage, livestock– and are transformed into compositions that capture the essence of country living.
Zooey Gastelo, WS’25
Stop #6: The Lehigh Valley Train Station
In 1841 the first railroad appeared in Geneva. The Lehigh Valley Railroad was formed in 1870 by combining a number of local railroads. Geneva's Lehigh Valley Station was built in 1892 and was the largest station on the line. The station wash home to the Black Diamond, or the Black Diamond Express, which ran to cities such as New York City and Buffalo. During the late 1930's, Arthur Dove and his wife Helen Torr used the railway to commute to various art shows within the state. Industrial developments were transforming the rural community of Geneva, and Dove's works during this period highlight the growing modernization of the town. The composition of works above show a more representational side to Dove's collection, with a close focus on the linework of developing infrastructure such as power lines, bridges, and railways.
Zooey Gastelo, WS’25
Stops #7 & 8: Dove Houses on Main Street
The Dove House at 87 North Main holds a special place in the history of the Dove family, particularly during the years 1884-1898. This residence served as the familial backdrop for Arthur Dove during his formative years. The house at 87 North Main witnessed the early development of Arthur Dove's artistic sensibilities, laying the foundation for a career that would later bloom into one of the pioneering figures of American modernism.
It is intriguing to note that Newton Weatherly, residing at 80 North Main Street, played a pivotal role in Arthur Dove's artistic journey. As a mentor and guide, Weatherly introduced Dove to the world of painting, setting in motion the artistic exploration that would define Dove's legacy. The proximity of these two residences on North Main Street adds a layer of interconnectedness to the narrative, emphasizing the role of community and mentorship in Dove's artistic upbringing.
In 1898, the Dove family embarked on a new chapter, relocating to 512 South Main Street. This change in residence marked a significant transition in the family's life, and it's intriguing to consider the impact it may have had on Arthur Dove's artistic evolution. The Dove family's ownership of this house for over 80 years, until 1979, speaks to the enduring connection they had with the property.
Of particular note is Arthur Dove's brother, Paul, who resided in the South Main Street house for an impressive 80 years, until his passing in 1978. Paul's long tenure in the family home underscores the deep roots the Dove family established in Geneva and adds a personal touch to the historical narrative. Exploring the life of Paul Dove might reveal additional insights into the family's continued presence in the community.
Ali Muzaffar H’26
Stop #9: Hobart and William Smith Colleges
Continuing down South Main Street, you'll notice an open area on your left offering a picturesque view of the lake. To your right stands Hobart and William Smith Colleges, an integral part of Arthur Dove's early academic journey. While Arthur initially attended Hobart College, he eventually graduated from Cornell University.
As you pass the Main Street buildings on the right, the expansive Hobart Quad unfolds before you. Many of these structures, including Coxe Hall, Medbery Hall, and Williams Hall, bear the imprint of William Dove & Son, the construction business owned by Arthur Dove's family. The legacy of the Dove family extends beyond their residence, intertwining with the very fabric of the educational institutions that line South Main Street.
This stretch offers a glimpse into Arthur Dove's academic roots and the tangible impact of the Dove family's construction legacy on the architectural landscape of Hobart and William Smith Colleges. The unassuming buildings on the right narrate a tale of craftsmanship and familial influence that goes beyond the canvas, shedding light on the practical contributions of the Doves to the development of this academic enclave.
Ali Muzaffar H’26
Stop #10: Belhurst Castle
Heading south on Route 14 along South Main Street, you'll come across Belhurst Castle on your left. Drive down the lane to get a closer view. The original part of the castle was built by William Dove & Son, offering a glimpse into the construction legacy of the Dove family.
Belhurst Castle holds more than architectural significance for Arthur Dove. In the 1930s, upon returning to Geneva, Arthur and Reds, his wife, made a habit of dining here. This connection adds a personal touch to the castle's history, illustrating how the Doves, known for their construction business, also found familiarity and comfort in this grand establishment.
Belhurst Castle is a tangible link to the social and personal life of the Dove family. The castle becomes a backdrop to the stories of the past, where business, art, and personal experiences intersected in the lives of those who shaped Geneva's history.
Ali Muzaffar H’26
Stop #11: Collins’ Music Hall and Elks’ Club
Collins Hall was originally commissioned by Captain and Mrs. Louis Dell Collins in 1983. The hall was built by William G. Dove, Arthur Dove’s father. Mrs. Collins also commissioned Belhurst Castle in the same style seven years earlier, another building by William Dove that remains today. The Music Hall operated until 1908, when a fraternal order and social club by the name of the Benevolent and Protective Order of Elks purchased it. The building has now been restored and made into private apartments. This is yet another building that demonstrates the lasting impact and reach of the Dove family.
Claire Kapitan WS’24