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Georgia O'keeffe and the Culture of Drawing And

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Georgia O'keeffe and the Culture of Drawing And ABSTRACT Title of Dissertation / Thesis: “LIVING ON PAPER:” GEORGIA O’KEEFFE AND THE CULTURE OF DRAWING AND WATERCOLOR IN THE STIEGLITZ CIRCLE Ann Prentice Wagner, Doctor of Philosophy, 2005 Dissertation / Thesis Directed By: Professor Sally M. Promey, Department of Art History and Archaeology Drawing and watercolor were important in shaping the modernism of artist Georgia O’Keeffe and photographer Alfred Stieglitz. In his gallery 291 and journal Camera Work, Stieglitz introduced European avant-garde art to early twentieth- century America and promoted American modernists including O’Keeffe. Stieglitz as a child collected drawings and watercolors and learned traditional drawing connoisseurship that valued revelation of the artist’s character through the marks he made on paper. Stieglitz’s journals Camera Notes and Camera Work asserted connections between photography and other graphic media. Stieglitz and Edward Steichen founded 291 as a pictorial photography gallery but later exhibited modern paintings and many drawings and watercolors. O’Keeffe studied academic art at the Art Institute of Chicago and the Art Students League in New York, but she wanted more creative freedom. Art educator Arthur Wesley Dow introduced O’Keeffe to abstract design principles and prepared her to appreciate modern art. While O’Keeffe was training as an art teacher at Columbia University Teachers College in New York in 1914 and 1915, she visited 291 and became interested in modern art. O’Keeffe’s original conception of modernism was graphic because the modern arts she had seen was mainly in the form of drawings and watercolor and printed reproductions of paintings. Her first modern art works, made in South Carolina in 1915, were abstract charcoal drawings that combined academic drawing techniques with modernist approaches from charcoal drawings by Pablo Picasso and Marius de Zayas. Stieglitz interpreted O’Keeffe’s drawings as naïve expressions of female sexuality and showed them at 291 in 1916. O’Keeffe taught art in Texas and made modernist watercolors of the Texas sky and landscape. Stieglitz showed her new works at 291 in 1917. In 1918 O’Keeffe returned to New York and moved in with Stieglitz. She concentrated on painting in oils for the rest of her career. Stieglitz photographed O’Keeffe with her drawings and watercolors, connecting the marks on paper with the artist’s body, hands, and sexuality. While exhibiting O’Keeffe’s oil paintings, Stieglitz continued for decades to show O’Keeffe’s early drawings to critics and to stress her origins as a simple graphic artist. “LIVING ON PAPER:” GEORGIA O’KEEFFE AND THE CULTURE OF DRAWING AND WATERCOLOR IN THE STIEGLITZ CIRCLE By Ann Prentice Wagner Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2005 Advisory Committee: Professor Sally M. Promey, Chair Professor Franklin Kelly Professor Emerita Josephine Withers Dr. Virginia Mecklenburg Professor John Ruppert © Copyright by Ann Prentice Wagner 2005 Dedication This dissertation is dedicated with love to my parents, John Prentice Wagner and Polly Sweet Wagner, who encourage me to follow my heart. ii Acknowledgements In the last four years I have traveled thousands of miles, seen at least one thousand works of art, and learned far more than I ever anticipated. It has been a great pleasure to meet and work with the many people listed below, without whom I could not have completed this dissertation. I am deeply grateful to the institutions that have generously provided me with the funding I needed to research and write this dissertation. The University of Maryland granted me a graduate teaching assistantship during my first year of research. Nine months of my second year of dissertation work were funded by a Smithsonian Pre- Doctoral Fellowship from the Smithsonian American Art Museum and the Hirshhorn Museum and Sculpture Garden. During my second year of dissertation I also received a three-month Georgia O’Keeffe Museum Research Center Visiting Fellowship in Santa Fe, New Mexico. The following year I was able to continue my work at the Smithsonian due to a Terra Foundation for the Arts/ American Council of Learned Societies Doctoral Dissertation Fellowship in American Art. For my last year of writing I had a University of Maryland Museum Fellowship at the National Gallery of Art in Washington, D.C. I thank the Georgia O’Keeffe Foundation for kindly giving me permission to quote from letters written by Georgia O’Keeffe and Alfred Stieglitz. I appreciate the guidance and responsiveness of the Foundation’s Judy Lopez. My advisor at the University of Maryland, Professor Sally M. Promey, helped me to find funding and has been a thoughtful and responsive guide and friend throughout my study, research, and writing. I have benefited greatly from the insightful comments of iii Professor Promey and the other members of my dissertation committee: University of Maryland Professors Franklin Kelly and John Ruppert, Professor Emerita Josephine Withers, and Virginia Mecklenburg, Senior Curator at the Smithsonian American Art Museum. Dr. Mecklenburg was also one of the advisors and consultants who provided valuable guidance during my time as a Smithsonian Pre-Doctoral Fellow, the others being Joann Moser of the Smithsonian Museum of American Art, Wendy Wick Reaves of the National Portrait Gallery, and Judith Zilczer, now Curator Emerita of the Hirshhorn Museum and Sculpture Garden. The friends who made my two years at the Smithsonian American Art Museum such a productive and delightful experience include Fellows Program Administrator Gwen Allday and her successor Amelia Goerlitz; American Art journal Executive Editor Cynthia Mills; and the Smithsonian Fellowship Program Manager, Bruce “Will” Morrison. The unfailingly friendly and supportive Smithsonian Fellows with whom I was in residence include: Alison Bechtel, Martin Berger, Zeinat Bitar, Jody Blake, Kim Curtiss, Michael C. Dooley, Shannon Egan, Sarah Evans, Susan Fillin-Yeh, Oscar Fitzgerald, Mette Gieskes, Ken Gonzales-Day, Anne Harrell, Janet Headley, Carmenita Higginbotham, Hiroko Ikegami, Guy Jordan, James Lawrence, Michael Lobel, David McCarthy, Deirdre J. Murphy, Sarah Newman, R. Sarah Richardson, Ellen Roberts, Tacey Rosolowski, Anne Samuel, Michael Shreyach, Donald Sloan, Katherine Smith, Kirsten Swenson, Isabel Taube, Flora Vilches, Judith Walsh, Terri Weissman, Elizabeth Wiley, Michelle Wilkinson, Catherine Whalen, Jennifer Wingate, and Barbara Zabel. iv My time at the Smithsonian Institution began when I worked for 12 years at the National Portrait Gallery starting in 1989, and the relationships forged during those years have continued to benefit me during my graduate work. My fellow members of the Departments of Prints and Drawings and of Photographs encouraged my studies in every way both before and after I left the Department. Wendy Wick Reaves, Curator of Prints and Drawings, urged me to return to graduate school and stood behind me while I took classes. Others who have always been in my corner are Ann Shumard, LuLen Walker, Marie Louise “Pie” Friendly, Mary Panzer, my fellow University of Maryland graduate student Kimberlee Staking, Jennifer O’Keefe, Amy Baskette, Eowyn McHenry, Frank Goodyear, and my successor as Assistant Curator of Prints and Drawings, Anne Collins Goodyear. I have benefited from the friendship and graphic art wisdom of Conservation department members Rosemary Fallon, Emily Jacobson, and Ed Myers. My mentors in other departments have included Ellen Miles, Brandon Brame Fortune, Fred Voss, Amy Henderson, Linda Thrift, and Patricia Svoboda. There is not space to properly thank all of my other Portrait Gallery colleagues, but I owe a great deal to all of them. Other Smithsonian museums and agencies have also contributed much to my work on my dissertation. At the Smithsonian American Art Museum, Denise Wamaling and Lynn Putney have helpfully pulled art for me. Conservators Fern Bleckner and Catherine Maynor helped me with their museum’s Georgia O’Keeffe pastel and other graphic art technical questions. In the Smithsonian American Art Museum and National Portrait Gallery Library, I depended upon Cecilia Chin, Patricia Lynagh, Stephanie Moye, Barbara Insidioso, Jesse Foley, Alice Clarke, and Glenn Juchno. At the Archives v of American Art, Judith E. Throm, Wendy Hurlock, Elizabeth Botten, and Tessa Veazey made collections available to me. I spent three enjoyable and productive months at the beginning of 2003 at the Georgia O’Keeffe Museum Research Center in Santa Fe. The warm welcome of Museum Director George King and his staff made me wish I could stay longer. Barbara Buhler Lynes, the Emily Fisher Landau Director of the Research Center and Curator of the Georgia O’Keeffe Museum, helped me to craft the presentation that turned out to form the center of my dissertation. Dr. Lynes also generously allowed me access to her files on Georgia O’Keeffe, saving me countless hours of research. Librarian Eumie Imm- Stroukoff cheerfully answered my many requests to see art works, books, and files. I spent joyful hours pouring over art by Georgia O’Keeffe at the Research Center and at the Museum, thanks to the help of Judy Smith, Ted Stearns, and Michael Shiller. Conservator Dale Kronkright answered my many questions insightfully. I was inspired by the outstanding work done by my fellow visiting scholars, Christina Cogdell, Audrey Goodman, Carolyn Butler Palmer, and Bette Schumacher. I would like to thank Donna Heiland and Cindy Mueller at the American Council of Learned Societies for their help with my Terra Foundation for Arts and the American Council of Learned Societies fellowship. I spent an exciting week in Chicago meeting with the staff of the Terra Museum of American Art and the Terra Foundation for the Arts. I am grateful to Elizabeth Glassman, Donald Ratner, Amy Zinck, Elizabeth Kennedy, Jennifer Siegenthaler, Shelly Roman, Laura Milkovich and many other staff members for their hospitality. I was pleased to speak at a Symposium alongside fellow fellows Michael Dooley and Sarah Gordon.
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