DOROTHY HOOD (1918-2000)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail1.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail2.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail3.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail4.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail5.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail6.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail7.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail8.jpg)
![DOROTHY HOOD - Genies When Dorothy Hood painted Genies in 1956, she explored new territory, developing various methods and a vocabulary of organic forms drawn from her observations of nature and the human body. Inclusive of their ambiguous and transformative nature, abstract and figurative elements engage in a dynamic interplay, weaving together, intertwining, and merging identities within a metaphysical soup. Rather than the formal stasis of a woven tapestry, in Genies, abstraction breathes, stretches, and flows in an energy field of sinewy, ribbon-like tendrils. It is a work that embodies a fusion of abstraction and surrealism. Its implied depth of field, perspective, and figurative references suggest a woman whose arched body imbues the piece with emotional, psychological, or mythological depth. These elements capture the complex essence of a woman’s stance and situation, effectively conflating the boundaries between two distinct artistic movements.](/Art_Images/Large/dorothy_hood_genies_45610_detail9.jpg)
Provenance
Collection of Harold A. Coffmann, Cedar Hill, TexasHeritage Auctions, November 2, 2019
Private Collection, Texas
Exhibition
Texas, Dallas Art Fair 2023: McClain Gallery Booth, April 20 - April 23, 202365,000