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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 (près d'Abiquiu), Nouveau-Mexique194391,44 x 76,2 cm (36 x 30 in.)(91,44 x 76,2 cm) huile sur toile
Provenance
Un lieu américain, New York
M. et Mme Max Ascoli, New York, 1944
Descendu dans la famille
Harold Diamond, New York, vers 1975
Galerie Gerald Peters, Santa Fe, Nouveau-Mexique
Galerie Elaine Horwich, Scottsdale, Arizona, 1978
Collection de M. et Mme E. Parry Thomas, Las Vegas, Nevada, 1978
Collection privée, États-Unis
Exposition
New York, New York, An American Place, Georgia O'Keeffe, Paintings - 1943, 11 janvier - 11 mars 1944, n° 8
West Palm Beach, Floride, Ann Norton Sculpture Gardens, Discoveri...Plus.....ng Creativity : Les maîtres de l'art américain, du 10 janvier au 17 mars 2024
Littérature
Lynes, Barbara Buhler, Georgia O'Keeffe, Catalogue Raisonné Volume Two (New Haven et Londres : Yale University Press, 1999), cat. no 1066, p. 670.
...MOINS.....
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"J'ai découvert que je pouvais dire des choses avec la couleur et les formes que je ne pouvais dire d'aucune autre manière - des choses pour lesquelles je n'avais pas de mots." -Georgia O'Keeffe

Histoire

Cottonwood Tree (Near Abiquiu), New Mexico (1943) de la célèbre artiste américaine Georgia O'Keeffe est exemplaire du style plus aéré et naturaliste que le désert lui a inspiré. O'Keeffe avait une grande affinité avec la beauté particulière du Sud-Ouest et y a élu domicile parmi les arbres touffus, les panoramas spectaculaires et les crânes d'animaux blanchis qu'elle a si souvent peints. O'Keeffe s'est installée à Ghost Ranch, un ranch pour dames situé à 30 km du village d'Abiquiú, au nord du Nouveau-Mexique, et a peint ce peuplier dans les environs. Le style plus doux qui convient à ce sujet s'écarte de ses paysages architecturaux audacieux et de ses fleurs aux tons de bijoux.

Le peuplier deltoïde est abstrait en de douces taches de verts verdoyants à travers lesquelles on aperçoit des branches plus délimitées, s'enroulant en spirale dans l'espace sur des poches de ciel bleu. Le modelage du tronc et l'énergie délicate des feuilles s'inscrivent dans la continuité des expérimentations passées avec les arbres régionaux du Nord-Est qui avaient captivé O'Keeffe des années auparavant : érables, châtaigniers, cèdres et peupliers, entre autres. Deux toiles spectaculaires de 1924, Autumn Trees, The Maple et The Chestnut Grey, sont les premiers exemples de centralité lyrique et résolue, respectivement. Comme on le voit dans ces premières peintures d'arbres, O'Keeffe a exagéré la sensibilité de son sujet par la couleur et la forme.

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  • Georgia O'Keeffe peignant un sujet similaire à Ghost Ranch, au Nouveau-Mexique.

    Georgia O'Keeffe peignant un sujet similaire à Ghost Ranch, au Nouveau-Mexique.

    Photographie d'Ansel Adams
  • Georgia O'Keeffe, 1953, à son bureau dans son studio d'Abiquiu, avec l'une de ses petites peintures de peupliers de Virginie.

    Georgia O'Keeffe, 1953, à son bureau dans son studio d'Abiquiu, avec l'une de ses petites peintures de peupliers de Virginie.

    Photo : Laura Gilpin
  • "Le peuplier mort" (1943)

    "Le peuplier mort" (1943)

    Musée d'art de Santa Barbara
  • "Arbres d'automne, l'érable" (1924)

    "Arbres d'automne, l'érable" (1924)

  • "Le gris châtaigne" (1924)

    "Le gris châtaigne" (1924)

"Une colline ou un arbre ne peut pas faire un bon tableau juste parce que c'est une colline ou un arbre. Ce sont des lignes et des couleurs mises ensemble pour qu'elles disent quelque chose. Pour moi, c'est la base même de la peinture. L'abstraction est souvent la forme la plus définie pour la chose intangible en moi que je ne peux clarifier qu'en peinture." -Georgia O'Keeffe

LES CONNAISSANCES DU MARCHÉ

  • Selon le graphique préparé par Art Market Research, les prix du marché de Georgia O'Keeffe ont augmenté à un taux de rendement annuel composé de 12,7 % depuis 1976.

  • Le record de Georgia O'Keeffe aux enchères a été établi en 2014 avec la vente de Jimson Weed/White Flower No. 1 pour plus de 44,4 millions de dollars américains. Cela reste la somme la plus élevée payée pour une artiste féminine lors d'une vente aux enchères.

  • Même lorsque le marché d'O'Keeffe a connu une légère baisse pendant la pandémie de 2020 (comme le montre le graphique AMR), l'indice mondial de chiffre d'affaires des ventes aux enchères d'ArtPrice montre qu'O'Keeffe est passé du 263e au 63e rang des artistes les plus vendus cette année-là, ce qui montre que les peintures d'O'Keeffe restent de plus en plus demandées, surtout si on les compare aux performances d'autres artistes pendant la même période.

  • En moyenne, au cours des 40 dernières années, seuls 4 tableaux d'O'Keeffe sont vendus aux enchères chaque année.

Les meilleurs résultats aux enchères

Huile sur toile, 48 x 40 in. Vendu chez Sotheby's New York : 20 novembre 2014.

"Herbe à Jimson/ Fleur blanche no. 1" (1932) a été vendue pour 44 405 000 USD.

Huile sur toile, 48 x 40 in. Vendu chez Sotheby's New York : 20 novembre 2014.
Huile sur toile, 36 x 30 in. Vendu chez Christie's New York : 9 novembre 2022.

"White Rose with Larkspur No. I" (1927) a été vendue pour 26 725 000 USD.

Huile sur toile, 36 x 30 in. Vendu chez Christie's New York : 9 novembre 2022.
Huile sur toile, 48 x 30 in. Vendu chez Christie's New York : 11 mai 2023.

Le "Black Iris VI" (1936) a été vendu pour 21 110 000 USD.

Huile sur toile, 48 x 30 in. Vendu chez Christie's New York : 11 mai 2023.
Huile sur toile, 32 x 21 in. Vendu chez Christie's New York : 9 novembre 2022.

"Autumn Leaf II" (1927) a été vendu pour 15 275 000 USD.

Huile sur toile, 32 x 21 in. Vendu chez Christie's New York : 9 novembre 2022.

Tableaux comparables vendus aux enchères

Huile sur toile, 20 x 30 in. Vendu chez Christie's New York : 9 novembre 2022.

"Red Hills with Pedernal, White Clouds" (1936) a été vendu pour 12 298 000 $.

Huile sur toile, 20 x 30 in. Vendu chez Christie's New York : 9 novembre 2022.
  • Une vue plus large du paysage désertique, cette peinture a été vendue aux enchères de la collection du cofondateur de Microsoft, Paul Allen. 
  • La nature était souvent le sujet de l'art d'O'Keeffe, et on peut voir quelques peupliers de Virginie au loin dans ce paysage.
Huile sur toile, 25 1/2 x 21 in. Vendu chez Sotheby's New York : 14 mai 2018.

"Lake George With White Birch" (1921) a été vendu pour 11 292 000 dollars.

Huile sur toile, 25 1/2 x 21 in. Vendu chez Sotheby's New York : 14 mai 2018.
  • Cette toile de jeunesse au sujet similaire, bien qu'à plus petite échelle, s'est vendue pour plus de 11,2 millions de dollars en 2018, le troisième prix le plus élevé pour O'Keeffe lors d'une vente aux enchères.
  • Les sujets liés à la nature, en particulier les arbres, étaient souvent au centre des préoccupations de O'Keeffe.
Huile sur toile, 16 x 36 in. Vendu chez Christie's New York : 09 mai 2018.

"Near Abiquiu, New Mexico" (1931) vendu pour 8 412 500 $.

Huile sur toile, 16 x 36 in. Vendu chez Christie's New York : 09 mai 2018.
  • Une œuvre plus petite que Cottonwood Tree (près d'Abiquiu), Nouveau-Mexique
  • Un paysage antérieur de la même région du Nouveau-Mexique, cette pièce a été vendue pour plus de 8,4 millions de dollars en 2018.
Huile sur toile, 36 x 30 in. Vendu chez Christie's New York : 20 novembre 2018.

"The Red Maple at Lake George" (1926) a été vendu pour 8 187 500 dollars.

Huile sur toile, 36 x 30 in. Vendu chez Christie's New York : 20 novembre 2018.
  • Ce sujet de nature O'Keeffe de la même taille a été vendu en 2018 pour plus de 8,18 millions de dollars.
  • Exemple plus ancien datant de 1926
Huile sur toile, 10,1 x 24 in. Vendu chez Sotheby's New York : 5 mars 2020.

"Formes de la nature - Gaspé" (1931) a été vendu pour 6 870 200 $.

Huile sur toile, 10,1 x 24 in. Vendu chez Sotheby's New York : 5 mars 2020.
  • Sujet de nature abstrait à petite échelle
  • Vendu récemment pour plus de 6,87 millions de dollars

SCARCITY

Musées O'keeffe
Musée O'keeffe vert
  • 43% des peintures de O'Keeffe sont déjà conservées dans des collections de musées.
  • Sur les 616 huiles sur toile peintes par O'Keeffe, moins de 300 sont encore disponibles dans des collections privées.
  • Au fil du temps, un grand nombre des tableaux d'O'Keeffe qui se trouvent actuellement dans des collections privées seront légués à des musées, ce qui fait que très peu d'entre eux seront disponibles un jour.
  • O'Keeffe n'a peint les peupliers d'Abiquiu que pendant deux ans, de 1943 à 1945, et n'a réalisé que neuf tableaux pour cette série principale. Six d'entre elles sont conservées dans des collections permanentes de musées, et trois seulement se trouvent encore en mains privées.
  • Les Cottonwood Trees d' O'Keeffe - de la série originale de 1943-1945 et des années suivantes - se trouvent dans les principales collections de musées, notamment le Georgia O'Keeffe Museum, le Butler Institute of American Art et le Museum of Fine Arts Boston.

Peintures de peupliers, d'arbres et d'Abiquiu dans les collections des musées

"Cottonwood Tree in Spring" (1943) huile sur toile, 30 1/16 x 36 1/8 in.

Musée Georgia O'Keeffe, Santa Fe

"Cottonwood Tree in Spring" (1943) huile sur toile, 30 1/16 x 36 1/8 in.
"Peuplier mort" (1943), huile sur toile, 36 x 30 in.

Musée d'art de Santa Barbara

"Peuplier mort" (1943), huile sur toile, 36 x 30 in.
"Sans titre (peuplier)" (1945) huile sur carton, 24 1/4 x 20 in.

Musée Georgia O'Keeffe, Santa Fe

"Sans titre (peuplier)" (1945) huile sur carton, 24 1/4 x 20 in.
"Cottonwood III" (1944), huile sur toile, 20 x 30 in.

L'Institut Butler d'art américain, Ohio

"Cottonwood III" (1944), huile sur toile, 20 x 30 in.
"Cottonwood and Pedernal" (1948) huile sur toile, 10 x 12 in.

Musée Georgia O'Keeffe, Santa Fe

"Cottonwood and Pedernal" (1948) huile sur toile, 10 x 12 in.
"Arbre mort avec colline rose" (1945), huile sur toile, 30 x 40 in.

Le musée d'art de Cleveland

"Arbre mort avec colline rose" (1945), huile sur toile, 30 x 40 in.
"Troncs d'arbres dénudés avec neige" (1946), huile sur toile, 29 1/2 x 39 1/2 in.

Musée d'art de Dallas

"Troncs d'arbres dénudés avec neige" (1946), huile sur toile, 29 1/2 x 39 1/2 in.
"Arbre de printemps n° 1" (1945), huile sur toile

Musée d'art du Nouveau-Mexique, Santa Fe

"Arbre de printemps n° 1" (1945), huile sur toile
"Abiquiu Trees VII" (1953), huile sur toile, 10 1/8 x 12 1/8 in.

Musée des Beaux-Arts, Boston

"Abiquiu Trees VII" (1953), huile sur toile, 10 1/8 x 12 1/8 in.
"Dark Tree Trunks" (1946), huile sur toile, 40 x 30 in.

Musée de Brooklyn, New York

"Dark Tree Trunks" (1946), huile sur toile, 40 x 30 in.
"Near Abiquiu, New Mexico" (1930), huile sur toile, 10 in. × 24 1/8 in.

Le Metropolitan Museum of Art, New York

"Near Abiquiu, New Mexico" (1930), huile sur toile, 10 in. × 24 1/8 in.
"The Mountain, New Mexico" (1931), huile sur toile, 30 1/16 × 36 1/8 in.

Whitney Museum of American Art, New York

"The Mountain, New Mexico" (1931), huile sur toile, 30 1/16 × 36 1/8 in.
"Sans titre (paysage du Nouveau-Mexique)" (c. 1943) huile sur toile, 13 x 33 1/8 in.

Musée Georgia O'Keeffe, Santa Fe

"Sans titre (paysage du Nouveau-Mexique)" (c. 1943) huile sur toile, 13 x 33 1/8 in.
"Cliffs Beyond Abiquiu, Dry Waterfall" (1943), huile sur toile, 30 x 16 in.

Le musée d'art de Cleveland

"Cliffs Beyond Abiquiu, Dry Waterfall" (1943), huile sur toile, 30 x 16 in.
"Abiquiu Sand Hills and Mesa" (1945), huile sur toile, 16 x 36 in.

Institut d'art de Chicago

"Abiquiu Sand Hills and Mesa" (1945), huile sur toile, 16 x 36 in.
"Remplir un espace d'une belle manière - c'est ce que l'art signifie pour moi." -Georgia O'Keeffe

Galerie d'images

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Ressources supplémentaires

Faites une visite vidéo de la maison de O'Keeffe à Abiquiu, au Nouveau-Mexique, présentée par le Georgia O'Keeffe Museum de Santa Fe.
Faites une visite vidéo de la maison de O'Keeffe à Abiquiu, au Nouveau-Mexique, présentée par le Georgia O'Keeffe Museum de Santa Fe.
Regardez "Houses of My Own" du musée Georgia O'Keeffe pour en savoir plus sur le paysage inspirant d'Abiquiu et ses peupliers de Virginie.
Regardez "Houses of My Own" du musée Georgia O'Keeffe pour en savoir plus sur le paysage inspirant d'Abiquiu et ses peupliers de Virginie.
Découvrez d'autres séries de cotonniers de O'Keeffe dans la collection du musée Georgia O'Keeffe.
Découvrez d'autres séries de cotonniers de O'Keeffe dans la collection du musée Georgia O'Keeffe.
Le conservateur principal du HJFA, Chip Tom, parle de la série des peupliers de O'Keeffe.
Le conservateur principal du HJFA, Chip Tom, parle de la série des peupliers de O'Keeffe.

Authentification

O'Keeffe 40147 CR

Cottonwood Tree (Near Abiquiu), New Mexico, 1943 est répertorié sous le numéro 1066 dans le catalogue raisonné des œuvres de Georgia O'Keeffe de Barbara Buhler Lynes. Le tableau est illustré à la page 670 du deuxième volume.

Voir le Catalogue Raisonné

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