Georgia Okeeffe - Watercolors Pdf
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Willa Cather's and Georgia O'keeffe's Visionary Landscapes of The
論 文 Messages from the Far-away: Willa Cather’s and Georgia O’Keeffe’s Visionary Landscapes of the American Southwest Martha Robertson 要 旨 アメリカ合衆国のアイデンタテイ形成には大自然がずっと深く関っ てきた。20世紀はじめに,最後のフロンテイアがなくなろうとしてい るころ,作家のWilla Catherと画家のGeorgia O’Keefeは砂漠地帯の南 西地区を訪れた。人気が少なく、広々としたこの土地に彼女たちが新 たな刺激を受けた。本稿ではCatherとO’Keefeがどのようにこの砂漠 地帯をみて、表現したかを論じる。そしてそれぞれの作品をとおして、 アメリカと大自然との関係がどのように変化してきたかを探る。 Keywords: Georgia O’Keefe, Willa Cather, desert, American identity, nature, and frontier Abstract The American wilderness played a central role in shaping the American identity. In the early years of the 20th century, when the last frontiers were being settled, the writer Willa Cather and the painter Georgia O’Keeffe traveled to the Southwestern desert precincts and found renewed artistic inspiration in the vast expanse of this sparsely inhabited landscape. This paper will discuss the artists’ contrasting visions of the desert and show how their work reflects America’s evolving relationship with wild nature. ― 79 ― 愛知大学 言語と文化 No. 16 Messages from the Far-away: Willa Cather’s and Georgia O’Keeffe’s Visionary Landscapes of the American Southwest We come and go, but the land is always here. And the people who love it and understand it are the people who own it –for a little while– Willa Cather America’s faith in the wilderness as a source of purity and spiritual renewal is reflected in the work of the writer Willa Cather and the painter Georgia O’Keeffe, who spent their childhoods in farming communities on the Midwestern plains and, later in life, found a lasting inspiration for their art in the Southwestern desert precincts. For these two artists, the encounter with the Southwestern desert was a transformative experience, coming at a time when each was in need of both personal and artistic rejuvenation. -
American Paintings, 1900–1945
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No. -
Georgia O'keeffe
Georgia O’Keeffe 1887 - 1986 The Beauty of Nature Sun Prairie, Wisconsin 1887 The farm where Georgia grew up was a great place to learn about nature. Georgia wanted to touch and feel everything. She remembered that when she was very little, she put dirt in her mouth to see what it tasted like! Art Instruction “Dead Rabbit with a Copper Pot” by Georgia O’Keeffe, 1908 Georgia’s mother thought art was very important and made sure her children had art lessons as they grew up. Georgia did so well with her lessons that her parents encouraged her to go to art college after she graduated high school. Georgia studied at different art schools and colleges all over the country. At one school, in New York City, she won a prize for the painting above. New York “Georgia O’Keeffe: A Portrait” by Alfred Stieglitz, 1918 Georgia liked New York City. It was busier and more exciting than the peaceful farm areas where she’d grown up. Georgia often visited a small gallery in New York City that showed the work of new artists. It was owned by a well-known photographer named Alfred Stieglitz. Alfred Stieglitz Cezanne Matisse Alfred loved modern art and tried to get people interested in modern European artists like Paul Cezanne and Henri Matisse… Marin Hartley …and American artists like John Marin and Marsden Hartley. Georgia didn’t know it at the time but, in a few years, Alfred would help get people interested in her paintings, too. Texas After finishing school, Georgia decided to teach art for a while and traveled to Texas to take a job there. -
Regionalism (1930-1940) Grant Wood
Regionalism (1930-1940) Andrew Wyeth- American 1917-2009 Realist Christina's World • His wife was the primary model • Inspired by Anna Olsen ○ Had polio • Realist tempera • Considered a magic realist painting • "was limited physically but by no means spiritually" • Bicycle and leaning ladder in background • “like a crab on a New England seashore” • Fifth floor of MoMa The Helga Pictures • Over 240 paintings of German Helga Testorf • Braided • "Overflow" • "Lovers" Public Sale • One of his first tempera paintings Winter Fields • Dead crow found at Chaddes Ford Flood Plain • Hay, remnants of wagon, icy wheel tracks Winter 1946 • Boy runs down hill that Wyeth's father died on Wind from the Sea • Attic window Trodden Weed • Leather boots Up in the Studio • Curly haired sister looking out window Night Sleeper • Dog sleeping on tan and blue sack Eveining at Kuerners • White farmhouse Young America • Blue and white feather over man riding bike "I paint my life" Grant Wood- American 1891-1942 American Gothic • Sister Nan Wood Graham and dentist Dr. Byron McKeeby modeled • Woman wears cameo brooch • Mother-in-law's tongue • Dibble House in background • Won $300 in Art Institute of Chicago competition Woman with Plants Birthplace of Herbert Hoover, West Branch, Iowa Daughters of Revolution • Protested against for using German glass for a WWI memorial painting • Commissioned to create stained glass window in the Veterans Memorial Coliseum • Satire Parson Weem's Fable • Washington cutting down cherry tree • Father looks cross • Parson holding back -
A Brush with Georgia O'keeffe
On Creating A BRUSH WITH GEORGIA O’KEEFFE by Natalie Mosco Doctor of Creative Arts Candidate University of Western Sydney 2008 © Natalie Mosco 2008 Dedication To all those with whom I’ve worked, played, studied, and loved For my Mother, Sister and Nephew Acknowledgements In gratitude to my University of Western Sydney advisors: Jean Callaghan, Jane Goodall, Graham Marchant, and Glen McGillivray Special thanks to Robert Aberdeen, Rae Allen, Bayo, Michael Blakemore, Robert Kalfin, Thomas Hauser, Jeffrey Hogrefe, Lisa Parkins, Virginia Roncetti, William Rowley, Andrea Shapiro and Joel Silver Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. ___________________________________________________ Statement on Presentation This submission comprises: Exegesis; two-part DVD of the first full-scale production of the play in December, 2004; program and postcard for the December, 2004 production; scripts of the 2004 production and most recent version of the play. The Time Line for this DCA was governed by production opportunities. The dates for each of the productions along with their personnel are specified in Appendix G. Because the subject of this study was American born and the majority of reference material was published in the U.S.A. American spelling has been adopted in order to maintain the integrity of direct quotations. The paper on which this document has been printed is standard American- size “Letter” paper because the equivalent "International Standard A4” paper is not readily available in the United States. -
Proquest Dissertations
RICE UNIVERSITY Extramusical Elements in Selected Viola Music of Libby Larsen: Representation, Suggestion, and Abstraction by Katherine Jean Lewis A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Musical Arts APPROVED, THESIS COMMITTEE KarimAl-Zand, ° Associate Professor of Composition and Theory Walter Bailey, i Associate Professor of Musicology and Chair of Musicology James/Dunham, Professor of Viola Gregory Kaplafii, '-' Anna Smith Fine Assistant Professor of Judaic Studies HOUSTON, TX MARCH 2010 UMI Number: 3421431 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3421431 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright Katherine Jean Lewis 2010 ABSTRACT Extramusical Elements in Selected Viola Music by Libby Larsen: Representation, Suggestion, and Abstraction by Katherine J. Lewis Throughout her career, American composer Libby Larsen has drawn on a wide variety of extramusical influences in both her texted and non-texted compositions. This thesis focuses on the manner in which Larsen has incorporated these extramusical influences into selected chamber works with viola. It traces the progression from representational and programmatic works written at the beginning of Larsen's career through a middle period of "suggestive" compositions (roughly coinciding with an important residency with the Minnesota Orchestra in the mid 1980's), to abstract compositions written in recent years. -
GEORGIA O'keeffe Large Print Guide
GEORGIA O’KEEFFE 6 July – 30 October 2016 Large Print Guide Please return to exhibition entrance Contents Room 1 Page 1 Room 2 Page 12 Room 3 Page 20 Room 4 Page 40 Room 5 Page 47 Room 6 Page 57 Room 7 Page 65 Room 8 Page 77 Room 9 Page 83 Room 10 Page 89 Room 11 Page 95 Room 12 Page 102 Room 13 Page 116 Find out more Page 123 Room 1 1 INTRODUCTION Georgia O’Keeffe (1887–1986) is widely recognised as a foundational figure within the history of modernism in the United States, and during her lifetime became an American icon. Her career spanned more than seven decades and this exhibition encompasses her most productive years, from the 1910s to the 1960s. It aims to dispel the clichés that persist about O’Keeffe’s painting, emphasising instead the pioneering nature and breadth of her career. O’Keeffe was born in Sun Prairie, Wisconsin, the daughter of Irish and Dutch-Hungarian immigrants, and died in Santa Fe, New Mexico, at the age of 98. She decided to be an artist before she was 12 years old. She was the most prominent female artist in the avant-garde circle around the photographer and gallerist Alfred Stieglitz (1864–1946), later O’Keeffe’s husband. The first showing of her work was at Stieglitz’s New York gallery ‘291’ in 1916, now 100 years ago. Tate Modern’s exhibition therefore marks a century of O’Keeffe. 2 THE EARLY YEARS AND ‘291’ ‘I have things in my head that are not like what anyone has taught me – shapes and ideas so near to me … I decided to start anew – to strip away what I had been taught… I began with charcoal and paper and decided not to use any other colour until it was impossible to do what I wanted to do in black and white.’ O’Keeffe’s earliest mature works were abstractions in charcoal, made while she was working as an art teacher in Virginia and Texas.