الاستفسارعن التاريخرؤى السوقنتائج المزاد ندرة مجموعات المتحفمعرض الصورموارد إضافيةندرة
العودة

جورجيا أوكيف وناسبز(1887-1986)

الفنان بيو الاستفسارحميل PDF
 
Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color. Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.
شجرة خشب القطن (بالقرب من أبيكيو)، نيو مكسيكو194336 × 30 بوصة. (91.44 × 76.2 سم) زيت على قماش
الاصل
مكان أمريكي، نيويورك
السيد والسيدة ماكس أسكولي، نيويورك، 1944
ينحدر في الأسرة
هارولد دايموند، نيويورك، ج. 1975
معرض جيرالد بيترز، سانتا في، نيو مكسيكو
معرض إلين هورويتش، سكوتسدايل، أريزونا، 1978
مجموعة من السيد والسيدة إي باري توماس، لاس فيغاس، نيفادا، 1978
Private Collection, الولايات المتحدة الأمريكية
معرض
نيويورك، نيويورك، مكان أمريكي، جورجيا أوكيفي، لوحات – 1943، 11 يناير – 11 مارس 1944، رقم 8
الادب
لينس، باربرا بوهلر، جورجيا أوكيفي، كتالوج رايسونيه فولوم... اكثر...(ه) اثنان (نيو هافن ولندن: مطبعة جامعة ييل، 1999)، قطة. العدد 1066، الصفحة 670.
... اقل...
العودة
الاستفسار

"لقد وجدت أنني يمكن أن أقول أشياء مع اللون والأشكال التي لم أستطع أن أقول أي طريقة أخرى - أشياء لم يكن لدي كلمات ل." - جورجيا أوكيف

التاريخ

شجرة القطن (بالقرب من أبيكيو) ، نيو مكسيكو ( 1943) للفنانة الأمريكية الشهيرة جورجيا أوكيفي هي مثال على الأسلوب الأكثر تهوية وطبيعية الذي ألهمته الصحراء فيها. كان لدى أوكيفي ميل كبير للجمال المميز للجنوب الغربي ، وجعلها منزلها هناك بين الأشجار المغزلية ، والآفاق الدرامية ، وجماجم الحيوانات المبيضة التي رسمتها كثيرا. أقام أوكيفي في مزرعة الأشباح ، وهي مزرعة متأنقة على بعد اثني عشر ميلا خارج قرية أبيكيو في شمال نيو مكسيكو ورسم شجرة القطن هذه هناك. إن الأسلوب الأكثر نعومة الذي يليق بهذا الموضوع هو خروج عن مناظرها المعمارية الجريئة وزهورها ذات اللون المجوهر.

يتم تجريد شجرة خشب القطن إلى بقع ناعمة من الخضر الخضرة التي من خلالها ينظر إلى فروع أكثر تحديدا ، وتصاعد في الفضاء ضد جيوب السماء الزرقاء. النمذجة من الجذع والطاقة الحساسة في الأوراق تحمل إلى الأمام التجارب الماضية مع الأشجار الإقليمية في الشمال الشرقي التي أسرت أوكيف سنوات في وقت سابق: القيقب والكستناء والأرز والحور، من بين أمور أخرى. اثنين من اللوحات الدرامية من عام 1924، أشجار الخريف، والقيقب والرمادي الكستناء، هي حالات مبكرة من المركزية الغنائية والحازمة، على التوالي. كما رأينا في هذه اللوحات شجرة في وقت مبكر، مبالغة أوكيف حساسية موضوعها مع اللون والشكل.

اكثر
الاستفسار
  • جورجيا أوكيفي ترسم موضوعا مشابها في Ghost Ranch ، نيو مكسيكو

    جورجيا أوكيفي ترسم موضوعا مشابها في Ghost Ranch ، نيو مكسيكو

    تصوير أنسل آدامز
  • جورجيا أوكيفي ، 1953 ، على مكتبها في استوديو Abiquiu الخاص بها مع إحدى لوحاتها الأصغر من خشب القطن

    جورجيا أوكيفي ، 1953 ، على مكتبها في استوديو Abiquiu الخاص بها مع إحدى لوحاتها الأصغر من خشب القطن

    تصوير لورا جيلبين
  • "شجرة القطن الميتة" (1943)

    "شجرة القطن الميتة" (1943)

    متحف سانتا باربرا للفنون
  • "أشجار الخريف ، القيقب" (1924)

    "أشجار الخريف ، القيقب" (1924)

  • "الكستناء الرمادي" (1924)

    "الكستناء الرمادي" (1924)

"لا يمكن للتل أو الشجرة أن ترسم لوحة جيدة لمجرد أنها تلة أو شجرة. ومن خطوط والألوان وضعت معا بحيث يقولون شيئا. بالنسبة لي هذا هو أساس الرسم. التجريد هو في كثير من الأحيان الشكل الأكثر تحديدا للشيء غير الملموس في التي يمكنني توضيح فقط في الطلاء. - جورجيا أوكيف

رؤى السوق

  • O'Keeffe AMR الرسم البياني
  • مؤشر الأسعار O'Keeffe

  • يظهر الرسم البياني الذي أجرته Art Market Research أنه منذ عام 1976 ، زادت لوحات O'Keeffe بمعدل عائد سنوي 11.6٪.

  • منذ بيع سجل الإعداد في عام 2014 (جيمسون الاعجج / زهرة بيضاء رقم 1، تباع لأكثر من 44.4 مليون دولار)، شهدت سوق جورجيا أوكيف طلبا متزايدا على اللوحات الزيتية على غرار التوقيع.  

  • حتى عندما شهد سوق O'Keeffe تراجعا طفيفا خلال الوباء في عام 2020 (كما هو موضح في الرسم البياني AMR) ، يظهر مؤشر ArtPrice العالمي لدوران المزادات أن O'Keeffe ارتفع من المرتبة 263 إلى المرتبة 63 للفنان الأعلى مبيعا في ذلك العام ، مما يوضح أن لوحات O'Keeffe لا تزال في الطلب المتزايد ، خاصة عند مقارنتها بأداء الفنانين الآخرين خلال نفس الوقت.

الاستفسار

أفضل النتائج في المزاد

زيت على قماش، 48 × 40 بوصة. يباع في دار سوذبيز نيويورك: 20 نوفمبر 2014.

"جيمسون الأعشاب الضارة / الزهرة البيضاء رقم 1" (1932) بيعت مقابل 44،405،000 دولار.

زيت على قماش، 48 × 40 بوصة. يباع في دار سوذبيز نيويورك: 20 نوفمبر 2014.
زيت على قماش، 36 × 30 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.

"الوردة البيضاء مع لاركسبور رقم I" (1927) بيعت مقابل 26,725,000 دولار.

زيت على قماش، 36 × 30 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.
زيت على قماش، 32 × 21 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.

بيعت "Autumn Leaf II" (1927) مقابل 15,275,000 دولار.

زيت على قماش، 32 × 21 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.
زيت على قماش، 48 × 30 بوصة. يباع في سوذبيز نيويورك: 14 نوفمبر 2018.

بيع فيلم "شارع" (1926) مقابل 13,285,500 دولار.

زيت على قماش، 48 × 30 بوصة. يباع في سوذبيز نيويورك: 14 نوفمبر 2018.

لوحات مماثلة تباع في مزاد علني

زيت على قماش، 20 × 30 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.

"التلال الحمراء مع Pedernal ، السحب البيضاء" (1936) بيعت مقابل 12،298،000 دولار.

زيت على قماش، 20 × 30 بوصة. يباع في كريستيز نيويورك: 9 نوفمبر 2022.
  • منظر أوسع للمناظر الطبيعية الصحراوية ، تم بيع هذه اللوحة في مزاد مجموعة المؤسس المشارك لشركة Microsoft Paul Allen 
  • غالبا ما كانت الطبيعة موضوع فن O'Keeffe ، ويمكن رؤية بعض أشجار القطن على مسافة هذا المشهد.
زيت على قماش، 25 1/2 × 21 بوصة. يباع في سوذبيز نيويورك: 14 مايو 2018.

"بحيرة جورج مع البتولا الأبيض" (1921) بيعت مقابل 11،292،000 دولار.

زيت على قماش، 25 1/2 × 21 بوصة. يباع في سوذبيز نيويورك: 14 مايو 2018.
  • بيعت هذه اللوحة المبكرة ذات الموضوع المماثل ، على الرغم من صغر حجمها ، بأكثر من 11.2 مليون دولار في عام 2018 ، وهو ثالث أعلى سعر مزاد لأوكيف
  • كانت مواضيع الطبيعة ، وخاصة الأشجار ، محور تركيز متكرر لأوكيف
زيت على قماش، 16 × 36 بوصة. يباع في كريستيز نيويورك: 09 مايو 2018.

"بالقرب من أبيكيو ، نيو مكسيكو" (1931) بيعت مقابل 8،412،500 دولار.

زيت على قماش، 16 × 36 بوصة. يباع في كريستيز نيويورك: 09 مايو 2018.
  • عمل أصغر من شجرة كوتونوود (بالقرب من أبيكيو)، نيو مكسيكو
  • منظر طبيعي سابق من نفس المنطقة في نيو مكسيكو ، بيعت هذه القطعة بأكثر من 8.4 مليون دولار في عام 2018
زيت على قماش، 36 × 30 بوصة. يباع في كريستيز نيويورك: 20 نوفمبر 2018.

"القيقب الأحمر في بحيرة جورج" (1926) بيعت مقابل 8،187،500 دولار.

زيت على قماش، 36 × 30 بوصة. يباع في كريستيز نيويورك: 20 نوفمبر 2018.
  • هذا الموضوع طبيعة أوكيف من نفس الحجم تباع في عام 2018 لأكثر من 8.18 مليون دولار
  • مثال سابق من عام 1926
زيت على قماش، 10.1 × 24 بوصة. يباع في سوذبيز نيويورك: 5 مارس 2020.

"أشكال الطبيعة - Gaspé" (1931) بيعت مقابل 6،870،200 دولار.

زيت على قماش، 10.1 × 24 بوصة. يباع في سوذبيز نيويورك: 5 مارس 2020.
  • موضوع الطبيعة المجردة على نطاق صغير
  • بيعت مؤخرا لأكثر من 6.87 مليون دولار

الندرة

  • ندرة أوكيفي

  • 43٪ من لوحات O'Keeffe محفوظة بالفعل في مجموعات المتاحف.

  • من بين 716 عملا زيتيا على قماش رسمها أوكيفي ، لا يزال أقل من 300 منها متاحا للمجموعات الخاصة.

  • مع مرور الوقت ، سيتم توريث العديد من لوحات O'Keeffe الموجودة حاليا في مجموعات خاصة للمتاحف ، تاركة القليل جدا منها متاحا على الإطلاق.

  • رسم أوكيفي لأول مرة أشجار القطن في أبيكيو لمدة عامين فقط ، من عام 1943 إلى عام 1945 ، ولم يخلق سوى حفنة صغيرة من اللوحات لهذه السلسلة الأساسية. العديد من الأعمال من سلسلة شجرة القطن هذه موجودة الآن في متاحف مثل معهد بتلر للفن الأمريكي ومتحف بروكلين.
الاستفسار

لوحات من أخشاب القطن والأشجار و Abiquiu في مجموعات المتحف

"شجرة خشب القطن في الربيع" (1943) زيت على قماش ، 30 1/16 × 36 1/8 بوصة.

متحف جورجيا أوكيفي، سانتا في

"شجرة خشب القطن في الربيع" (1943) زيت على قماش ، 30 1/16 × 36 1/8 بوصة.
"شجرة القطن الميتة" (1943) ، زيت على قماش ، 36 × 30 بوصة.

متحف سانتا باربرا للفنون

"شجرة القطن الميتة" (1943) ، زيت على قماش ، 36 × 30 بوصة.
"بدون عنوان (شجرة خشب القطن)" (1945) زيت على متن الطائرة ، 24 1/4 × 20 بوصة.

متحف جورجيا أوكيفي، سانتا في

"بدون عنوان (شجرة خشب القطن)" (1945) زيت على متن الطائرة ، 24 1/4 × 20 بوصة.
"Cottonwood III" (1944) ، زيت على قماش ، 20 × 30 بوصة.

معهد بتلر للفن الأمريكي، أوهايو

"Cottonwood III" (1944) ، زيت على قماش ، 20 × 30 بوصة.
"Cottonwood and Pedernal" (1948) زيت على قماش ، 10 × 12 بوصة.

متحف جورجيا أوكيفي، سانتا في

"Cottonwood and Pedernal" (1948) زيت على قماش ، 10 × 12 بوصة.
"شجرة ميتة مع بينك هيل" (1945) ، زيت على قماش ، 30 × 40 بوصة.

متحف كليفلاند للفنون

"شجرة ميتة مع بينك هيل" (1945) ، زيت على قماش ، 30 × 40 بوصة.
"جذوع الأشجار العارية مع الثلج" (1946) ، زيت على قماش ، 29 1/2 × 39 1/2 بوصة.

متحف دالاس للفنون

"جذوع الأشجار العارية مع الثلج" (1946) ، زيت على قماش ، 29 1/2 × 39 1/2 بوصة.
"شجرة الربيع رقم 1" (1945) ، زيت على قماش

متحف نيو مكسيكو للفنون ، سانتا في

"شجرة الربيع رقم 1" (1945) ، زيت على قماش
"أشجار أبيكيو السابعة" (1953) ، زيت على قماش ، 10 1/8 × 12 1/8 بوصة.

متحف الفنون الجميلة ، بوسطن

"أشجار أبيكيو السابعة" (1953) ، زيت على قماش ، 10 1/8 × 12 1/8 بوصة.
"جذوع الأشجار المظلمة" (1946) ، زيت على قماش ، 40 × 30 بوصة.

متحف بروكلين، نيويورك

"جذوع الأشجار المظلمة" (1946) ، زيت على قماش ، 40 × 30 بوصة.
"بالقرب من أبيكيو ، نيو مكسيكو" (1930) ، زيت على قماش ، 10 بوصات × 24 1/8 بوصة.

متحف المتروبوليتان للفنون، نيويورك

"بالقرب من أبيكيو ، نيو مكسيكو" (1930) ، زيت على قماش ، 10 بوصات × 24 1/8 بوصة.
"الجبل ، نيو مكسيكو" (1931) ، زيت على قماش ، 30 1/16 × 36 1/8 بوصة.

متحف ويتني للفن الأمريكي، نيويورك

"الجبل ، نيو مكسيكو" (1931) ، زيت على قماش ، 30 1/16 × 36 1/8 بوصة.
"بدون عنوان (منظر طبيعي لنيو مكسيكو)" (حوالي 1943) زيت على قماش ، 13 × 33 1/8 بوصة.

متحف جورجيا أوكيفي، سانتا في

"بدون عنوان (منظر طبيعي لنيو مكسيكو)" (حوالي 1943) زيت على قماش ، 13 × 33 1/8 بوصة.
"منحدرات ما وراء أبيكيو ، شلال جاف" (1943) ، زيت على قماش ، 30 × 16 بوصة.

متحف كليفلاند للفنون

"منحدرات ما وراء أبيكيو ، شلال جاف" (1943) ، زيت على قماش ، 30 × 16 بوصة.
"Abiquiu Sand Hills and Mesa" (1945) ، زيت على قماش ، 16 × 36 بوصة.

معهد الفنون في شيكاغو

"Abiquiu Sand Hills and Mesa" (1945) ، زيت على قماش ، 16 × 36 بوصة.
"ملء مساحة بطريقة جميلة - وهذا ما يعنيه الفن بالنسبة لي." - جورجيا أوكيف

معرض الصور

  • 40147
  • 40147_detail1
  • 40147_detail2
  • 40147_detail3
  • 40147_detail4
  • 40147_detail5
  • 40147_detail6
  • 40147_detail7
  • 40147_detail8
  • 40147_detail9
  • 40147
  • 40147_detail1
  • 40147_detail2
  • 40147_detail3
  • 40147_detail4
  • 40147_detail5
  • 40147_detail6
  • 40147_detail7
  • 40147_detail8
  • 40147_detail9

موارد إضافية

قم بجولة بالفيديو في منزل أوكيف في أبيكيو، نيو مكسيكو، قدمها متحف جورجيا أوكيف في سانتا في
قم بجولة بالفيديو في منزل أوكيف في أبيكيو، نيو مكسيكو، قدمها متحف جورجيا أوكيف في سانتا في
شاهد "منازل خاصة بي" من قبل متحف جورجيا أوكيف لمعرفة المزيد عن المناظر الطبيعية الملهمة في أبيكيو وأشجار خشب القطن
شاهد "منازل خاصة بي" من قبل متحف جورجيا أوكيف لمعرفة المزيد عن المناظر الطبيعية الملهمة في أبيكيو وأشجار خشب القطن
استكشف المزيد من سلسلة خشب القطن من أوكيف في مجموعة متحف جورجيا أوكيف
استكشف المزيد من سلسلة خشب القطن من أوكيف في مجموعة متحف جورجيا أوكيف
كبير أمناء HJFA ، تشيب توم ، يناقش سلسلة خشب القطن O'Keeffe
كبير أمناء HJFA ، تشيب توم ، يناقش سلسلة خشب القطن O'Keeffe

المصادقه

أوكيفي 40147 CR

تم إدراج شجرة كوتونوود (بالقرب من أبيكيو) ، نيو مكسيكو ، 1943 كرقم 1066 في كتالوج باربرا بوهلر لاينز لأعمال جورجيا أوكيفي الفنية. اللوحة موضحة في الصفحة 670 من المجلد الثاني.

انظر كتالوج Raisonné

الاستفسار

الاستعلام - الفن واحد

قد تحب أيضا