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DOROTHY HOOD (1918-2000)

ARTIST BIO INQUIRE
 
When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration.
When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration. When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration.
Space Signals1970s89 3/4 x 70 in(227.97 x 177.8 cm) oil on canvas
Provenance
Dorothy Hood Estate
Dorothy Hood Estate Holdings, Art Museum of South Texas Corpus Christi, Texas, acquired from the above, 2001
McClain Gallery, Houston, Texas
Exhibition
Houston, Texas, McClain Gallery, Dorothy Hood: Illuminated Earth, October 12 -December 21, 2019
New York, Sargent's Daughters, how lovely the ruins, how ruined the lovely, May 20–June 19, 2021
Texas, Dallas Art Fair 2023: McClain Gallery Booth, April 20 - April 23, 2023
 

92,000

When Dorothy Hood returned to Houston in 1962, to her delight, NASA made a momentous announcement: the new Spacecraft Center would be in Houston. The idea of space travel resonated with her long-standing interest in cosmology, and the heroic aspiration to achieve a landing on the moon opened something up in the artist. This new frontier informed her work and encouraged her to work bigger. She admitted, "The discovery of what I could do with (large canvases) is the most important thing that ever happened in my painting life." As much as Space Signals is a tour de force of color field painting, her visual language came from other sources: periodical images of spacecraft probes, astronomical objects, and her many conversations with scientists and astronauts who fired her imagination. She created these ravishingly beautiful, thinly painted zones of vaporous phthalo blue hues on the wings of that inspiration.
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