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Georgia O'keeffe and Agnes Pelton

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Georgia O'keeffe and Agnes Pelton Art and Life Illuminated: Georgia O’Keeffe and Agnes Pelton, Agnes Martin and Florence Miller Pierce Karen Moss alter De Maria’s Lightning Field, installed in a remote area of the high desert in western New Mexico in 1977, is composed of four hundred 20-foot-high (6.06 m) polished stainless-steel poles situated 220 feet W(66.73 m) apart in a 1 x 0.62 mile (1.6 x 1 km) grid. De Maria’s intent is for the viewer to experience the “field” of this expansive land project both temporally and physically, preferably during the peak of the monsoon season, when one is most likely to encounter a thunderstorm. Given the project’s title and now well-known photographic documentation, the visitor eagerly anticipates a decisive moment when lightning strikes along the vast horizon, momentarily connecting this sculptural intervention with the mercurial forces of nature, but in reality this occurs rather infrequently. What one discovers, however, in watching the distant sun rise and set against the dark silhouetted hills and primordial plateaus, or in closely observing the field by walking among the poles, is that the most significant aspect of De Maria’s project is not the sudden spectacle of lightning, but the more subtle and utterly sublime quality of the constantly changing light. In an essay on New Mexico, Libby Lumpkin discusses how many modern artists have been attracted to the sublime light and landscape of the state. While some arrived as early as the 1880s, when the Santa Fe railroad was built, it was in the 1920s that writer and art patron Mabel Dodge Luhan (Sterne until 1923) began hosting artists and painters at her home in Taos. Agnes Pelton first visited her in 1919; D.H. Lawrence arrived in 1922; and Andrew Dasburg, Marsden Hartley, John Marin, and Georgia O’Keeffe came in 1929. Inspired by the dramatic and desolate mesas, according to Lumpkin, these “cosmopolitan colonizers adapted Modern form to the desert and desert to Modern form.”1 This desert environment captured the attention not only of O’Keeffe but also of Agnes Martin and Florence Miller Pierce, both of whom lived a good portion of Fig. 2 Georgia O’Keeffe, Road to the Ranch, 1964 Oil on canvas, 24 x 297/8 in. (61 x 75.9 cm) Courtesy Curtis Galleries, Minneapolis 14 15 their lives in New Mexico. Similarly, after visiting New Mexico, Pelton spent thirty Fig. 4 years in the equally arid and spare Southern California desert. As we shall see, these Georgia O’Keeffe Series I - No. 3, 1918 four women originated from very different locations and lived in several places Oil on board, Beaver board before ultimately settling in the desert. Each developed a distinctive vocabulary 20 x 16 in. (50.8 x 40.6 cm) employing varying degrees of abstraction, but all four artists shared an interest in Milwaukee Art Museum, Gift of Jane Bradley Pettit Foundation making paintings that drew their inspiration from nature, evoked a keen sense of and The Georgia O’Keeffe Foundation, 1997 place, and used illumination to convey transcendence and spirituality. O’Keeffe and Pelton were both born in the 1880s, Pelton in 1881 in Stuttgart, Germany, where her expatriate parents resided, and O’Keeffe in 1887 in Sun Prairie, Wisconsin.2 Schooled at home because of her poor health, Pelton was raised in a religious environment and derived an early sense of spirituality from her strict Christian upbringing. Likewise, O’Keeffe was raised in a Protestant household and attended the Chatham Episcopal Institute, in Virginia, where she would later teach.3 Both women went to New York City to study art and were influenced by a renowned teacher of the first generation of American Modernists, Arthur Wesley Dow, whose classes at the Pratt Institute in Brooklyn involved using Asian art to teach students about composition, spatial relations, and color theory. Pelton began her studies with Fig. 3 Agnes Pelton, Room Decoration in Purple and Gray, 1917 Oil on canvas, 60 x 48 in. (152.4 x 121.9 cm) Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection 16 17 Dow in 1895 and after 1900 continued private art studies with both him and another one-person show at the gallery a year later and, when O’Keeffe returned to New Pratt instructor, Hamilton Easter Field. O’Keeffe commenced her studies at the York, Stieglitz photographed her for the first time, and they began a romantic School of the Art Institute of Chicago in 1905–06 and then, in 1907–08, enrolled at relationship that would eventually lead to marriage in 1924. While teaching in the Art Students League in New York City, where she studied with William Merritt Amarillo, Texas, from 1916 to 1918, O’Keeffe produced exquisite watercolors of light- Chase. In 1912 she took a course taught by Alon Bement, who introduced her to Dow, drenched landscapes featuring dramatic sunrises, star-filled evening skies, and but it was not until 1916 that O’Keeffe enrolled in Dow’s methods course in the art rolling hills, as seen in Light Coming on the Plains III (1917; fig 41). She also continued department at Teachers College at Columbia University.4 to explore more abstract forms in small oil-paintings, such as Series I - No. 3 After completing their respective educations, Pelton and O’Keeffe began to (1918; fig. 4). These works reflect her profound feeling for the Texan topography find their individual artistic voices. In 1910 Pelton spent a year in Italy studying and demonstrate her facility in navigating between evocative realism and Renaissance paintings and life drawing with Field, then began her Imaginative pure abstraction.9 paintings, including Briany Beach (c. 1911; fig. 67), a dark scene with strongly For a short period around 1920, both O’Keeffe and Pelton maintained studios illuminated figures in the foreground. As Michael Zakian notes, these works belong in Manhattan, but at this point their lives and careers took distinctly different to the larger tradition of American Symbolism that flourished from 1885 to 1917, courses. Pelton had a studio in Greenwich Village but continued to live in Brooklyn as such artists as Albert Pinkham Ryder and Louis Eilshemius turned to the with her mother. After her mother’s death in 1920, Pelton, seeking a secluded rural imagination to combat rationalism and used classical forms to convey romantic and environment, moved into the old Hayground Windmill in Water Mill, near mystical ideas.5 Bridgehampton, Long Island (see page 166), where she managed to sustain herself While living in New York in the 1910s, both Pelton and O’Keeffe became aware by painting realistic portraits of wealthy patrons. As an antidote to her relative of the emerging American avant-garde scene at Alfred Stieglitz’s famous 291 gallery solitude, from the early 1920s she traveled extensively to exotic locations, including and the salons of Mabel Dodge, as the patron was then known. Pelton first showed the Middle East, Greece, and Hawaii. Tall Ginger (c. 1925; fig. 5), one of the her work in then-prominent Manhattan galleries, such as the Macbeth Gallery, the flower studies she made in Hawaii, evinces a close-range focus that is paralleled Montross Gallery, and the Whitney Studio. She lived primarily in Greenwich Village in O’Keeffe’s contemporaneous floral paintings and plant studies, such as but spent her summers at Field’s studio in Ogunquit, Maine, where she met Walt Leaf Motif, No. 1 and Leaf Motif, No. 2 of 1924 (figs. 6 and 7). Both artists render Kuhn, the organizer of the 1913 New York Armory Show. At Kuhn’s invitation, Pelton these subjects in a highly schematized manner, using faceted patterns of overlapping became one of a few women to participate in the now-historic exhibition, showing elements yet retaining a semblance of recognizable organic forms. two works: Stone Age (1912), a rocky seascape with sunbathing figures, and Vine In the solitary environment of the Hayground Windmill, Pelton kept journals Wood (1913), depicting an allegorical figure in a dreamlike landscape.6 A few years that included her thoughts about art and spirituality. In the winter of 1926 she later she began to paint wall murals for domestic interiors, such as Room Decoration painted her first abstractions, including Ecstasy (1928, fig. 68), which shows a yellow in Purple and Gray (1917; fig. 3). Clearly inspired by the sinuous linearity of Art lily bursting open into an array of angular forms. A diffuse light emanates from Nouveau, this large painting presents a naturalistic female figure surrounded by within, permeating the background. The work’s ethereality contrasts with the diaphanous, layered veils of light that prefigure Pelton’s early abstractions from the boldness of O’Keeffe’s floral paintings, such as Yellow Cactus (1929; fig. 59), in which mid-1920s. a bright desert bloom bursts toward the picture plane, encompassing the entire frame. Pelton’s faceted flower appears suspended within an atmospheric ether, while O’Keeffe’s is concrete and stylized. Although both artists understood the Victorian My first memory is of the brightness of light—light all around.7 associations between flowers and female sexuality and reproduction, they georgia o’keeffe rejected erotic readings and instead embraced associations with beauty, growth, and In the fall of 1915, when O’Keeffe moved to South Carolina to teach at Columbia creative potential.10 College, she produced her first group of abstractions in charcoal, the Special series Between the mid-1920s and the early 1930s, Pelton and O’Keeffe painted (Untitled, 1915; fig 28). She sent the drawings to her friend Anita Pollitzer, who in nature and landscapes in lyrical canvases that hover between abstraction and turn took them to Stieglitz.
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