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GEORGIA O'KEEFFE (1887-1986)

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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.
Cottonwood Tree (Near Abiquiu), New Mexico194336 x 30 in.(91.44 x 76.2 cm) oil on canvas
Provenance
An American Place, New York
Mr. and Mrs. Max Ascoli, New York, 1944
Descended in family
Harold Diamond, New York, c. 1975
Gerald Peters Gallery, Santa Fe, New Mexico
Elaine Horwich Gallery, Scottsdale, Arizona, 1978
Collection of Mr. and Mrs. E. Parry Thomas, Las Vegas, Nevada, 1978
Private Collection, United States
Exhibition
New York, New York, An American Place, Georgia O’Keeffe, Paintings – 1943, January 11 – March 11, 1944, no. 8
Literature
Lynes, Barbara Buhler, Georgia O’Keeffe, Catalogue Raisonné Volum...More...e Two (New Haven and London: Yale University Press, 1999), cat. no. 1066, p. 670.
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“I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.” -Georgia O’Keeffe

History

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.

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.

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  • Georgia O’Keeffe painting a similar subject at Ghost Ranch, New Mexico

    Georgia O’Keeffe painting a similar subject at Ghost Ranch, New Mexico

    Photograph by Ansel Adams
  • Georgia O’Keeffe, 1953, at her desk in her Abiquiu studio with one of her smaller cottonwood paintings

    Georgia O’Keeffe, 1953, at her desk in her Abiquiu studio with one of her smaller cottonwood paintings

    Photograph by Laura Gilpin
  • "Dead Cottonwood Tree" (1943)

    "Dead Cottonwood Tree" (1943)

    Santa Barbara Museum of Art
  • "Autumn Trees, The Maple" (1924)

    "Autumn Trees, The Maple" (1924)

  • "The Chestnut Grey" (1924)

    "The Chestnut Grey" (1924)

“A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.” -Georgia O’Keeffe

MARKET INSIGHTS

  • O'Keeffe AMR Graph
  • Price Index O'Keeffe

  • The graph by Art Market Research shows that since 1976, paintings by O’Keeffe have increased at an 11.6% annual rate of return.

  • Since the Record setting sale in 2014 (Jimson Weed/White Flower No. 1, sold for over $44.4 million), the Georgia O’Keeffe market has seen an ever-increasing demand for signature-style oil paintings.  

  • Even when O’Keeffe’s market took a slight downturn during the pandemic in 2020 (as seen in the AMR graph), ArtPrice’s global index of auction turnover shows that O’Keeffe increased from 263rd to the 63rd highest sold artist that year, illustrating that O’Keeffe’s paintings remain in increasing demand, especially when compared to other artists’ performance during this same time.

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Top Results at Auction

Oil on canvas, 48 x 40 in. Sold at Sotheby’s New York: 20 November 2014.

“Jimson weed/ White flower no. 1” (1932) sold for $44,405,000.

Oil on canvas, 48 x 40 in. Sold at Sotheby’s New York: 20 November 2014.
Oil on canvas, 36 x 30 in. Sold at Christie's New York: 9 November 2022.

“White Rose with Larkspur No. I” (1927) sold for $26,725,000.

Oil on canvas, 36 x 30 in. Sold at Christie’s New York: 9 November 2022.
Oil on canvas, 32 x 21 in. Sold at Christie’s New York: 9 November 2022.

“Autumn Leaf II” (1927) sold for $15,275,000.

Oil on canvas, 32 x 21 in. Sold at Christie’s New York: 9 November 2022.
Oil on canvas, 48 x 30 in. Sold at Sotheby’s New York: 14 November 2018.

“A Street” (1926) sold for $13,285,500.

Oil on canvas, 48 x 30 in. Sold at Sotheby’s New York: 14 November 2018.

Comparable Paintings Sold at Auction

Oil on canvas, 20 x 30 in. Sold at Christie's New York: 9 November 2022.

“Red Hills with Pedernal, White Clouds” (1936) sold for $12,298,000.

Oil on canvas, 20 x 30 in. Sold at Christie’s New York: 9 November 2022.
  • A wider view of the desert landscape, this painting was sold in the auction of Microsoft co-founder Paul Allen’s collection 
  • Nature was often the subject of O’Keeffe’s art, and some cottonwood trees can be seen in the distance of this landscape
Oil on canvas, 25 1/2 x 21 in. Sold at Sotheby’s New York: 14 May 2018.

“Lake George With White Birch” (1921) sold for $11,292,000.

Oil on canvas, 25 1/2 x 21 in. Sold at Sotheby’s New York: 14 May 2018.
  • This early canvas with similar subject matter, though smaller-scale, sold for over $11.2 million in 2018, the third-highest auction price for O’Keeffe
  • Nature subjects, particularly trees, were a frequent focus of O’Keeffe
Oil on canvas, 16 x 36 in. Sold at Christie’s New York: 09 May 2018.

“Near Abiquiu, New Mexico” (1931) sold for $8,412,500.

Oil on canvas, 16 x 36 in. Sold at Christie’s New York: 09 May 2018.
  • A smaller work than Cottonwood Tree (Near Abiquiu), New Mexico
  • An earlier landscape from the same area in New Mexico, this piece sold for over $8.4 million in 2018
Oil on canvas, 36 x 30 in. Sold at Christie’s New York: 20 November 2018.

“The Red Maple at Lake George” (1926) sold for $8,187,500.

Oil on canvas, 36 x 30 in. Sold at Christie’s New York: 20 November 2018.
  • This O’Keeffe nature subject of the same size sold in 2018 for over $8.18 million
  • Earlier example from 1926
Oil on canvas, 10.1 x 24 in. Sold at Sotheby’s New York: 5 March 2020.

“Nature Forms – Gaspé” (1931) sold for $6,870,200.

Oil on canvas, 10.1 x 24 in. Sold at Sotheby’s New York: 5 March 2020.
  • Small-scale, abstract nature subject
  • Sold recently for over $6.87 million

SCARCITY

  • O'Keeffe Scarcity

  • 43% of O’Keeffe’s paintings are already held in museum collections.

  • Of the 716 oil on canvas works O’Keeffe painted, less than 300 remain available for private collections.

  • As time goes on, many of the O’Keeffe paintings currently in private collections will be bequeathed to museums, leaving very few to ever become available.

  • O’Keeffe first painted the cottonwood trees in Abiquiu for two only years, from 1943 to 1945, and only created a small handful of paintings for this core series. Many works from this Cottonwood Tree series are now in museums like the Butler Institute of American Art and the Brooklyn Museum.
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Paintings of Cottonwoods, Trees, and Abiquiu in Museum Collections

"Cottonwood Tree in Spring" (1943) oil on canvas, 30 1/16 x 36 1/8 in.

Georgia O'Keeffe Museum, Santa Fe

“Cottonwood Tree in Spring” (1943) oil on canvas, 30 1/16 x 36 1/8 in.
“Dead Cottonwood Tree” (1943), oil on canvas, 36 x 30 in.

Santa Barbara Museum of Art

“Dead Cottonwood Tree” (1943), oil on canvas, 36 x 30 in.
"Untitled (Cottonwood Tree)" (1945) oil on board, 24 1/4 x 20 in.

Georgia O'Keeffe Museum, Santa Fe

“Untitled (Cottonwood Tree)” (1945) oil on board, 24 1/4 x 20 in.
“Cottonwood III” (1944), oil on canvas, 20 x 30 in.

The Butler Institute of American Art, Ohio

“Cottonwood III” (1944), oil on canvas, 20 x 30 in.
"Cottonwood and Pedernal" (1948) oil on canvas, 10 x 12 in.

Georgia O'Keeffe Museum, Santa Fe

“Cottonwood and Pedernal” (1948) oil on canvas, 10 x 12 in.
“Dead Tree with Pink Hill" (1945), oil on canvas, 30 x 40 in.

The Cleveland Museum of Art

“Dead Tree with Pink Hill” (1945), oil on canvas, 30 x 40 in.
“Bare Tree Trunks with Snow" (1946), oil on canvas, 29 1/2 x 39 1/2 in.

Dallas Museum of Art

“Bare Tree Trunks with Snow” (1946), oil on canvas, 29 1/2 x 39 1/2 in.
“Spring Tree No. 1” (1945), oil on canvas

New Mexico Museum of Art, Santa Fe

“Spring Tree No. 1” (1945), oil on canvas
"Abiquiu Trees VII” (1953), oil on canvas, 10 1/8 x 12 1/8 in.

Museum of Fine Arts, Boston

“Abiquiu Trees VII” (1953), oil on canvas, 10 1/8 x 12 1/8 in.
“Dark Tree Trunks” (1946), oil on canvas, 40 x 30 in.

Brooklyn Museum, New York

“Dark Tree Trunks” (1946), oil on canvas, 40 x 30 in.
“Near Abiquiu, New Mexico" (1930), oil on canvas, 10 in. × 24 1/8 in.

The Metropolitan Museum of Art, New York

“Near Abiquiu, New Mexico” (1930), oil on canvas, 10 in. × 24 1/8 in.
“The Mountain, New Mexico" (1931), oil on canvas, 30 1/16 × 36 1/8 in.

Whitney Museum of American Art, New York

“The Mountain, New Mexico” (1931), oil on canvas, 30 1/16 × 36 1/8 in.
"Untitled (New Mexico Landscape)" (c. 1943) oil on canvas, 13 x 33 1/8 in.

Georgia O'Keeffe Museum, Santa Fe

“Untitled (New Mexico Landscape)” (c. 1943) oil on canvas, 13 x 33 1/8 in.
"Cliffs Beyond Abiquiu, Dry Waterfall” (1943), oil on canvas, 30 x 16 in.

The Cleveland Museum of Art

“Cliffs Beyond Abiquiu, Dry Waterfall” (1943), oil on canvas, 30 x 16 in.
“Abiquiu Sand Hills and Mesa" (1945), oil on canvas, 16 x 36 in.

Art Institute of Chicago

“Abiquiu Sand Hills and Mesa” (1945), oil on canvas, 16 x 36 in.
“Filling a space in a beautiful way – that is what art means to me.” -Georgia O’Keeffe

Image Gallery

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Additional Resources

Take a video tour of O’Keeffe’s home in Abiquiu, New Mexico, presented by the Georgia O’Keeffe Museum in Santa Fe
Take a video tour of O’Keeffe’s home in Abiquiu, New Mexico, presented by the Georgia O’Keeffe Museum in Santa Fe
Watch “Houses of My Own” by the Georgia O’Keeffe Museum to learn more about the inspirational Abiquiu landscape and its cottonwood trees
Watch “Houses of My Own” by the Georgia O’Keeffe Museum to learn more about the inspirational Abiquiu landscape and its cottonwood trees
Explore more of O’Keeffe’s cottonwood series in the collection of the Georgia O’Keeffe Museum
Explore more of O’Keeffe’s cottonwood series in the collection of the Georgia O’Keeffe Museum
HJFA Senior Curator, Chip Tom, discusses O’Keeffe’s cottonwood series
HJFA Senior Curator, Chip Tom, discusses O’Keeffe’s cottonwood series

Authentication

O'Keeffe 40147 CR

Cottonwood Tree (Near Abiquiu), New Mexico, 1943 is listed as number 1066 in Barbara Buhler Lynes’s catalogue raisonné of Georgia O’Keeffe’s artwork. The painting is illustrated on page 670 of volume two.

See Catalogue Raisonné

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