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GEORGIA O'KEEFFE (1887-1986)

BIO DEL ARTISTA CONSULTAR
 
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 (cerca de Abiquiu), Nuevo México194336 x 30 pulg.(91,44 x 76,2 cm) óleo sobre lienzo
Procedencia
Un lugar americano, Nueva York
Sr. y Sra. Max Ascoli, Nueva York, 1944
Descendientes en familia
Harold Diamond, Nueva York, c. 1975
Galería Gerald Peters, Santa Fe, Nuevo México
Galería Elaine Horwich, Scottsdale, Arizona, 1978
Colección del Sr. y la Sra. E. Parry Thomas, Las Vegas, Nevada, 1978
Colección privada, Estados Unidos
Exposición
Nueva York, Nueva York, An American Place, Georgia O'Keeffe, Pinturas - 1943, 11 de enero - 11 de marzo de 1944, nº 8
West Palm Beach, Florida, Ann Norton Sculpture Gardens, Discoveri...Más....ng Creatividad: American Art Masters, del 10 de enero al 17 de marzo de 2024
Literatura
Lynes, Barbara Buhler, Georgia O'Keeffe, Catalogue Raisonné Volume Two (New Haven y Londres: Yale University Press, 1999), cat. nº 1066, p. 670.
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"Descubrí que podía decir cosas con el color y las formas que no podía decir de otra manera, cosas para las que no tenía palabras". -Georgia O'Keeffe

Historia

Cottonwood Tree (Near Abiquiu), New Mexico (1943), de la célebre artista estadounidense Georgia O'Keeffe, es un ejemplo del estilo más aéreo y naturalista que le inspiró el desierto. O'Keeffe tenía una gran afinidad con la belleza distintiva del suroeste, y estableció allí su hogar entre los árboles enjutos, las vistas dramáticas y los cráneos de animales blanqueados que pintó con tanta frecuencia. O'Keeffe fijó su residencia en el Ghost Ranch, un rancho de amigos situado a doce millas del pueblo de Abiquiú, en el norte de Nuevo México, y allí pintó este álamo. El estilo más suave, acorde con este tema, se aleja de sus atrevidos paisajes arquitectónicos y de sus flores de colores.

El álamo se abstrae en suaves manchas de verde a través de las cuales se ven ramas más delineadas, que se mueven en espiral en el espacio contra bolsas de cielo azul. El modelado del tronco y la delicada energía de las hojas son una continuación de los experimentos realizados con los árboles regionales del noreste que habían cautivado a O'Keeffe años antes: arces, castaños, cedros y álamos, entre otros. Dos dramáticos lienzos de 1924, Árboles de otoño, El arce y El castaño gris, son ejemplos tempranos de centralidad lírica y resuelta, respectivamente. Como se ve en estos primeros cuadros de árboles, O'Keeffe exageró la sensibilidad de su tema con el color y la forma.

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  • Georgia O'Keeffe pintando un tema similar en Ghost Ranch, Nuevo México

    Georgia O'Keeffe pintando un tema similar en Ghost Ranch, Nuevo México

    Fotografía de Ansel Adams
  • Georgia O'Keeffe, 1953, en la mesa de su estudio de Abiquiu con uno de sus pequeños cuadros de álamos.

    Georgia O'Keeffe, 1953, en la mesa de su estudio de Abiquiu con uno de sus pequeños cuadros de álamos.

    Fotografía de Laura Gilpin
  • "Dead Cottonwood Tree" (1943)

    "Dead Cottonwood Tree" (1943)

    Museo de Arte de Santa Bárbara
  • "Árboles de otoño, el arce" (1924)

    "Árboles de otoño, el arce" (1924)

  • "La castaña gris" (1924)

    "La castaña gris" (1924)

"Una colina o un árbol no pueden constituir un buen cuadro sólo por ser una colina o un árbol. Se trata de líneas y colores unidos para que digan algo. Para mí esa es la base misma de la pintura. La abstracción es a menudo la forma más definida para lo intangible que hay en mí y que sólo puedo aclarar en la pintura". -Georgia O'Keeffe

CONOCIMIENTOS DEL MERCADO

  • Según el gráfico elaborado por Art Market Research, los precios de mercado de Georgia O'Keeffe han aumentado a una tasa compuesta anual del 12,7% desde 1976.

  • El récord de Georgia O'Keeffe en una subasta se estableció en 2014 con la venta de Jimson Weed/White Flower No. 1 por más de 44,4 millones de dólares. Esta sigue siendo la suma más alta pagada por una artista femenina en una subasta.

  • Incluso cuando el mercado de O'Keeffe sufrió un ligero descenso durante la pandemia de 2020 (como se ve en el gráfico de AMR), el índice global de volumen de ventas en subasta de ArtPrice muestra que O'Keeffe pasó del puesto 263 al 63 de los artistas más vendidos ese año, lo que ilustra que los cuadros de O'Keeffe siguen siendo cada vez más demandados, sobre todo si se comparan con el rendimiento de otros artistas durante ese mismo periodo.

  • En los últimos 40 años, sólo se han subastado unos 4 cuadros de O'Keeffe al año.

Los mejores resultados en la subasta

Óleo sobre lienzo, 48 x 40 pulg. Vendido en Sotheby's Nueva York: 20 de noviembre de 2014.

"Jimson weed/ White flower no. 1" (1932) vendida por 44.405.000 USD.

Óleo sobre lienzo, 48 x 40 pulg. Vendido en Sotheby's Nueva York: 20 de noviembre de 2014.
Óleo sobre lienzo, 36 x 30 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.

"Rosa blanca con espuela de caballero nº I" (1927) se vendió por 26.725.000 USD.

Óleo sobre lienzo, 36 x 30 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.
Óleo sobre lienzo, 48 x 30 pulg. Vendido en Christie's Nueva York: 11 de mayo de 2023.

"Black Iris VI" (1936) se vendió por 21.110.000 USD.

Óleo sobre lienzo, 48 x 30 pulg. Vendido en Christie's Nueva York: 11 de mayo de 2023.
Óleo sobre lienzo, 32 x 21 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.

"Hoja de otoño II" (1927) se vendió por 15.275.000 USD.

Óleo sobre lienzo, 32 x 21 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.

Cuadros comparables vendidos en subasta

Óleo sobre lienzo, 20 x 30 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.

"Colinas rojas con pedernal, nubes blancas" (1936) se vendió por 12.298.000 dólares.

Óleo sobre lienzo, 20 x 30 pulg. Vendido en Christie's Nueva York: 9 de noviembre de 2022.
  • Una vista más amplia del paisaje del desierto, este cuadro se vendió en la subasta de la colección del cofundador de Microsoft Paul Allen 
  • La naturaleza era a menudo el tema del arte de O'Keeffe, y algunos álamos se pueden ver en la distancia de este paisaje
Óleo sobre lienzo, 25 1/2 x 21 in. Vendido en Sotheby's Nueva York: 14 de mayo de 2018.

"Lago George con abedul blanco" (1921) se vendió por 11.292.000 dólares.

Óleo sobre lienzo, 25 1/2 x 21 in. Vendido en Sotheby's Nueva York: 14 de mayo de 2018.
  • Este lienzo temprano con un tema similar, aunque de menor escala, se vendió por más de 11,2 millones de dólares en 2018, el tercer precio más alto en una subasta para O'Keeffe
  • Los temas relacionados con la naturaleza, en particular los árboles, fueron un tema frecuente para O'Keeffe
Óleo sobre lienzo, 16 x 36 pulg. Vendido en Christie's Nueva York: 09 de mayo de 2018.

"Cerca de Abiquiu, Nuevo México" (1931) se vendió por 8.412.500 dólares.

Óleo sobre lienzo, 16 x 36 pulg. Vendido en Christie's Nueva York: 09 de mayo de 2018.
  • Una obra más pequeña que Cottonwood Tree (cerca de Abiquiu), Nuevo México
  • Un paisaje anterior de la misma zona en Nuevo México, esta pieza se vendió por más de 8,4 millones de dólares en 2018
Óleo sobre lienzo, 36 x 30 pulg. Vendido en Christie's Nueva York: 20 de noviembre de 2018.

"The Red Maple at Lake George" (1926) se vendió por 8.187.500 dólares.

Óleo sobre lienzo, 36 x 30 pulg. Vendido en Christie's Nueva York: 20 de noviembre de 2018.
  • Este tema de naturaleza de O'Keeffe del mismo tamaño se vendió en 2018 por más de 8,18 millones de dólares
  • Ejemplo anterior de 1926
Óleo sobre lienzo, 10,1 x 24 pulg. Vendido en Sotheby's Nueva York: 5 de marzo de 2020.

"Formas de la naturaleza - Gaspé" (1931) se vendió por 6.870.200 dólares.

Óleo sobre lienzo, 10,1 x 24 pulg. Vendido en Sotheby's Nueva York: 5 de marzo de 2020.
  • Tema de naturaleza abstracta a pequeña escala
  • Vendido recientemente por más de 6,87 millones de dólares

SCARCITY

Museos O'keeffe
Museo O'keeffe vert
  • El 43% de los cuadros de O'Keeffe se encuentran ya en colecciones de museos.
  • De los 616 óleos sobre lienzo que pintó O'Keeffe, quedan menos de 300 disponibles para colecciones privadas.
  • Con el paso del tiempo, muchos de los cuadros de O'Keeffe que actualmente se encuentran en colecciones privadas serán legados a museos, por lo que muy pocos llegarán a estar disponibles.
  • O'Keeffe pintó por primera vez los álamos de Abiquiu durante dos únicos años, de 1943 a 1945, y sólo creó nueve cuadros para esta serie principal. De ellos, seis se conservan en colecciones permanentes de museos y sólo tres permanecen en manos privadas.
  • Los Cottonwood Trees de O'Keeffe -de la serie central original de 1943-1945 y de años posteriores- se encuentran en importantes colecciones de museos como el Georgia O'Keeffe Museum, el Butler Institute of American Art y el Museum of Fine Arts Boston.

Pinturas de álamos, árboles y Abiquiu en colecciones de museos

"Cottonwood Tree in Spring" (1943) óleo sobre lienzo, 30 1/16 x 36 1/8 pulg.

Museo Georgia O'Keeffe, Santa Fe

"Cottonwood Tree in Spring" (1943) óleo sobre lienzo, 30 1/16 x 36 1/8 pulg.
"Dead Cottonwood Tree" (1943), óleo sobre lienzo, 36 x 30 pulg.

Museo de Arte de Santa Bárbara

"Dead Cottonwood Tree" (1943), óleo sobre lienzo, 36 x 30 pulg.
"Sin título (Cottonwood Tree)" (1945) óleo sobre tabla, 24 1/4 x 20 pulg.

Museo Georgia O'Keeffe, Santa Fe

"Sin título (Cottonwood Tree)" (1945) óleo sobre tabla, 24 1/4 x 20 pulg.
"Cottonwood III" (1944), óleo sobre lienzo, 20 x 30 pulg.

Instituto Butler de Arte Americano, Ohio

"Cottonwood III" (1944), óleo sobre lienzo, 20 x 30 pulg.
"Algodonero y Pedernal" (1948) óleo sobre lienzo, 10 x 12 pulg.

Museo Georgia O'Keeffe, Santa Fe

"Algodonero y Pedernal" (1948) óleo sobre lienzo, 10 x 12 pulg.
"Árbol muerto con colina rosa" (1945), óleo sobre lienzo, 30 x 40 pulg.

Museo de Arte de Cleveland

"Árbol muerto con colina rosa" (1945), óleo sobre lienzo, 30 x 40 pulg.
"Troncos de árbol desnudos con nieve" (1946), óleo sobre lienzo, 29 1/2 x 39 1/2 pulg.

Museo de Arte de Dallas

"Troncos de árbol desnudos con nieve" (1946), óleo sobre lienzo, 29 1/2 x 39 1/2 pulg.
"Árbol de primavera nº 1" (1945), óleo sobre lienzo

Museo de Arte de Nuevo México, Santa Fe

"Árbol de primavera nº 1" (1945), óleo sobre lienzo
"Árboles de Abiquiu VII" (1953), óleo sobre lienzo, 10 1/8 x 12 1/8 pulg.

Museo de Bellas Artes de Boston

"Árboles de Abiquiu VII" (1953), óleo sobre lienzo, 10 1/8 x 12 1/8 pulg.
"Troncos de árbol oscuros" (1946), óleo sobre lienzo, 40 x 30 pulg.

Museo de Brooklyn, Nueva York

"Troncos de árbol oscuros" (1946), óleo sobre lienzo, 40 x 30 pulg.
"Cerca de Abiquiu, Nuevo México" (1930), óleo sobre lienzo, 10 pulg. × 24 1/8 pulg.

Museo Metropolitano de Arte, Nueva York

"Cerca de Abiquiu, Nuevo México" (1930), óleo sobre lienzo, 10 pulg. × 24 1/8 pulg.
"La montaña, Nuevo México" (1931), óleo sobre lienzo, 30 1/16 × 36 1/8 pulg.

Museo Whitney de Arte Americano, Nueva York

"La montaña, Nuevo México" (1931), óleo sobre lienzo, 30 1/16 × 36 1/8 pulg.
"Sin título (Paisaje de Nuevo México)" (c. 1943) óleo sobre lienzo, 13 x 33 1/8 pulg.

Museo Georgia O'Keeffe, Santa Fe

"Sin título (Paisaje de Nuevo México)" (c. 1943) óleo sobre lienzo, 13 x 33 1/8 pulg.
"Acantilados más allá de Abiquiu, cascada seca" (1943), óleo sobre lienzo, 30 x 16 pulg.

Museo de Arte de Cleveland

"Acantilados más allá de Abiquiu, cascada seca" (1943), óleo sobre lienzo, 30 x 16 pulg.
"Abiquiu Sand Hills and Mesa" (1945), óleo sobre lienzo, 16 x 36 pulg.

Instituto de Arte de Chicago

"Abiquiu Sand Hills and Mesa" (1945), óleo sobre lienzo, 16 x 36 pulg.
"Llenar un espacio de forma hermosa: eso es lo que significa el arte para mí". -Georgia O'Keeffe

Galería de imágenes

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Recursos adicionales

Haga un recorrido en vídeo por la casa de O'Keeffe en Abiquiu (Nuevo México), presentado por el Museo Georgia O'Keeffe de Santa Fe
Haga un recorrido en vídeo por la casa de O'Keeffe en Abiquiu (Nuevo México), presentado por el Museo Georgia O'Keeffe de Santa Fe
Vea "Houses of My Own" del Museo Georgia O'Keeffe para saber más sobre el inspirador paisaje de Abiquiu y sus álamos
Vea "Houses of My Own" del Museo Georgia O'Keeffe para saber más sobre el inspirador paisaje de Abiquiu y sus álamos
Explore más series de algodones de O'Keeffe en la colección del Museo Georgia O'Keeffe
Explore más series de algodones de O'Keeffe en la colección del Museo Georgia O'Keeffe
El conservador jefe del HJFA, Chip Tom, habla de la serie de álamos de O'Keeffe
El conservador jefe del HJFA, Chip Tom, habla de la serie de álamos de O'Keeffe

Autenticación

O'Keeffe 40147 CR

Cottonwood Tree (Near Abiquiu), Nuevo México, 1943 figura con el número 1066 en el catálogo razonado de obras de arte de Georgia O'Keeffe de Barbara Buhler Lynes. El cuadro se ilustra en la página 670 del segundo volumen.

Véase el catálogo razonado

Preguntar

Consulta - Arte individual

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