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GEORGIA O'KEEFFE (1887-1986)

 
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.
ニューメキシコ州・コットンウッドツリー(アビキウ近郊194336 x 30 in.(91.44 x 76.2 cm)油彩・キャンバス
出所
アメリカン・プレイス、ニューヨーク
マックス・アスコリ夫妻(ニューヨーク、1944年
家系図
ハロルド・ダイアモンド、ニューヨーク、1975年頃
ジェラルド・ピーターズ・ギャラリー(ニューメキシコ州サンタフェ
Elaine Horwich Gallery(アリゾナ州スコッツデール、1978年
E・パリー・トーマス夫妻のコレクション、ラスベガス、ネバダ州、1978年
個人コレクション(アメリカ)
展示会
ニューヨーク、ニューヨーク、アメリカンプレイス、ジョージアオキーフ、絵画- 1943年、1月11日 - 1944年3月11日、第8号
ウェストパームビーチ、フロリダ州、アンノートン彫刻庭園、ディスカバリ
...もっとその。。。ng Creativity: American Art Masters、2024年1月10日〜3月17日
文学
Lynes, Barbara Buhler, Georgia O'Keeffe, Catalogue Raisonné Volume Two (New Haven and London: Yale University Press, 1999), cat.第1066号、670ページ。
...少ない。。。
お 問い合わせ

"色と形を使って、他の方法では言えないことを言えるとわかった。" "言葉にならないことを言えるとわかった。"-ジョージア・オキーフ

歴史

アメリカの著名な画家ジョージア・オキーフの「綿の木(アビキュー付近)、ニューメキシコ 」(1943年)は、砂漠が彼女に与えた、より風通しの良い、より自然なスタイルの典型例です。オキーフは、南西部の独特の美しさに非常に親近感を覚え、そこで、しなびた木々、ドラマチックな景色、漂白された動物の頭蓋骨などを頻繁に描き、住まいとした。オキーフは、ニューメキシコ州北部のアビキウの村から12マイル離れたゴースト・ランチに住み、その周辺でこのコットンウッドの木を描いています。大胆な建築物の風景や宝石をちりばめたような花々とは一線を画す、この被写体にふさわしい柔らかな作風が特徴です。

綿の木は、青々とした緑の柔らかなパッチに抽象化され、その間からより繊細な枝が見え、青空のポケットを背景に空間を螺旋状に広がっています。幹の造形と葉の繊細なエネルギーは、オキーフが何年も前に魅了された北東部の地方樹であるカエデ、栗、杉、ポプラなどに対する過去の実験を引き継いでいる。1924年に制作された2つのドラマチックなキャンバス「秋の木々、カエデ」と「栗の木」は、それぞれ叙情的で毅然とした中心性を示す初期の例である。これらの初期の樹木画に見られるように、オキーフは色彩と形態で対象の感性を誇張している。

もっとその
  • 同じような題材を描くジョージア・オキーフ(ニューメキシコ州、ゴースト・ランチにて

    同じような題材を描くジョージア・オキーフ(ニューメキシコ州、ゴースト・ランチにて

    写真:アンセル・アダムス
  • ジョージア・オキーフ、1953年、アビキューのアトリエの机で、コットンウッドの小さな絵の1枚と一緒に。

    ジョージア・オキーフ、1953年、アビキューのアトリエの机で、コットンウッドの小さな絵の1枚と一緒に。

    写真:Laura Gilpin
  • 「死んだ綿の木」(1943年)

    「死んだ綿の木」(1943年)

    サンタバーバラ美術館
  • "秋の木々、楓"(1924年)

    "秋の木々、楓"(1924年)

  • "チェスナット・グレイ" (1924年)

    "チェスナット・グレイ" (1924年)

"丘 "や "木 "だからといって、良い絵になるわけがない。線と色を組み合わせて、何かを表現しているのです。それが私にとっての絵画の基本です。抽象画は、絵の具でしか明らかにできない自分の中の無形のものを、最も明確に形にしたものであることが多いのです。"-ジョージア・オキーフ

マーケットインサイト

  • アート・マーケット・リサーチ社が作成したグラフによると、ジョージア・オキーフの市場価格は1976年以来、12.7%の複合年間収益率で上昇している。

  • ジョージア・オキーフのオークション記録は、2014年に「Jimson Weed/White Flower No.1」が4440万米ドル以上で落札されたことで更新された。これは、オークションで女性アーティストに支払われた最高額であり続けている。

  • オキーフの市場が2020年のパンデミック時に若干下降した時(AMRのグラフに見られるように)でも、ArtPriceのオークション売上高のグローバルインデックスでは、オキーフはその年の263位から63位まで上昇し、特にこの同時期の他の作家のパフォーマンスと比較すると、オキーフの絵画が依然として需要が高まっていることを示しています。

  • 過去40年間の平均で、オキーフの絵画がオークションに出品されるのは毎年およそ4点のみ。

オークションでの上位入賞実績

"ジムゾン・ウィード/白い花No.1"(1932)は44,405,000ドルで落札された。

油彩・キャンバス、48×40インチサザビーズ・ニューヨークにて販売:2014年11月20日。

「ラークスパー付きの白いバラ No.I」(1927年)は26,725,000米ドルで落札された。

油彩・キャンバス、36×30インチクリスティーズ・ニューヨークにて販売:2022年11月9日。

「ブラック・アイリス VI」(1936年)は21,110,000米ドルで落札された。

キャンバスに油彩、48 x 30インチクリスティーズ・ニューヨークにて販売:2023年5月11日

「オータム・リーフII」(1927年)は15,275,000ドルで落札された。

油彩・キャンバス、32×21インチクリスティーズ・ニューヨークにて販売:2022年11月9日。

オークションで落札された絵画

油彩・キャンバス、20×30インチクリスティーズ・ニューヨークにて販売:2022年11月9日。

"Red Hills with Pedernal, White Clouds" (1936)は12,298,000ドルで落札された。

油彩・キャンバス、20×30インチクリスティーズ・ニューヨークにて販売:2022年11月9日。
  • 砂漠の風景をより広く描いたこの絵は、マイクロソフトの共同創業者ポール・アレン氏のコレクションのオークションで落札されたものです 
  • オキーフは自然を題材にした作品を多く制作しており、この風景画の遠景にはコットンウッドの木がいくつか見える。
油彩・キャンバス、25 1/2 x 21 in.サザビーズ・ニューヨークにて販売:2018年5月14日。

"Lake George With White Birch"(1921年)は11,292,000ドルで落札されました。

油彩・キャンバス、25 1/2 x 21 in.サザビーズ・ニューヨークにて販売:2018年5月14日。
  • 規模は小さいが似たような題材のこの初期のキャンバスは、2018年に1120万ドル超で落札され、オキーフのオークション価格としては3番目に高い金額となった
  • 自然、特に樹木は、オキーフの作品の中で頻繁に取り上げられた。
油彩・キャンバス、16×36インチクリスティーズ・ニューヨークにて落札:2018年05月09日

"Near Abiquiu, New Mexico" (1931)は8,412,500ドルで落札された。

油彩・キャンバス、16×36インチクリスティーズ・ニューヨークにて落札:2018年05月09日
  • ニューメキシコ州「コットンウッドツリー」(アビキュー近郊)より小さい作品
  • ニューメキシコ州の同じ地域で撮影された初期の風景画で、2018年に840万ドル以上の価格で落札された作品です
油彩・キャンバス、36×30インチクリスティーズ・ニューヨークにて落札:2018年11月20日。

"The Red Maple at Lake George"(1926年)は8,187,500ドルで落札された。

油彩・キャンバス、36×30インチクリスティーズ・ニューヨークにて落札:2018年11月20日。
  • このオキーフの自然を題材にした同サイズの作品は、2018年に818万円以上で落札されました
  • 1926年の初期の例
油彩・キャンバス 10.1×24 インチ サザビーズ・ニューヨークにて販売:2020 年 3 月 5 日。

"Nature Forms - Gaspé"(1931年)は6,870,200ドルで落札された。

油彩・キャンバス 10.1×24 インチ サザビーズ・ニューヨークにて販売:2020 年 3 月 5 日。
  • 小規模で抽象的な自然の被写体
  • 最近687万ドル以上で落札された

SCARCITY

オキーフ美術館
オキーフ・ミュージアム・ヴァート
  • オキーフの絵画の43%はすでに美術館に所蔵されている。
  • オキーフが描いた616点の油彩・キャンバス作品のうち、個人コレクションとして残っているのは300点にも満たない。
  • 現在、個人コレクションとして所有されているオキーフの絵画の多くは、時代の流れとともに美術館に遺贈され、その数はごくわずかとなっています。
  • オキーフが最初にアビキューのコットンウッドの木を描いたのは、1943年から1945年までのわずか2年間で、このコア・シリーズのために制作したのは9点だけだった。そのうち6点は美術館に永久所蔵され、個人の手に残っているのは3点のみである。
  • オキーフの《コットンウッドの木》は、1943年から1945年に制作された中心的なシリーズと、それ以降に制作されたシリーズがあり、ジョージア・オキーフ美術館、バトラー・インスティテュート・オブ・アメリカン・アート、ボストン美術館などの主要な美術館に所蔵されている。

美術館所蔵の「綿の木」「樹木」「アビキュー」の絵

ジョージア・オキーフ美術館、サンタフェ

「春の綿の木」(1943年)油彩・キャンバス 30 1/16 x 36 1/8 in.

サンタバーバラ美術館

"Dead Cottonwood Tree"(1943年)油彩・キャンバス 36 x 30 in.

ジョージア・オキーフ美術館、サンタフェ

"無題(綿の木)"(1945) 油彩・板 24 1/4 x 20 in.

ジョージア・オキーフ美術館、サンタフェ

"Cottonwood and Pedernal" (1948) 油彩・キャンバス、10 x 12 in.

クリーブランド美術館

"Dead Tree with Pink Hill" (1945) 油彩・キャンバス 30 x 40 in.

ダラス美術館

"Bare Tree Trunks with Snow" (1946) 油彩・キャンバス 29 1/2 x 39 1/2 in.

ニューメキシコ美術館(サンタフェ

「春の木 No.1」(1945年)油彩・キャンバス

ボストン美術館

"Abiquiu Trees VII" (1953) 油彩・キャンバス、10 1/8 x 12 1/8 in.

ブルックリン美術館(ニューヨーク

"暗い木の幹" (1946年) 油彩・キャンバス 40 x 30 in.

メトロポリタン美術館(ニューヨーク)

"Near Abiquiu, New Mexico" (1930) 油彩・キャンバス、10 in.× 24 1/8 in.

ホイットニー美術館(ニューヨーク)

"The Mountain, New Mexico" (1931) キャンバスに油彩、30 1/16 × 36 1/8 インチ。

ジョージア・オキーフ美術館、サンタフェ

"無題(ニューメキシコの風景)" (1943年頃) 油彩・キャンバス 13 x 33 1/8 in.

クリーブランド美術館

"Cliffs Beyond Abiquiu, Dry Waterfall" (1943) 油彩・キャンバス、30 x 16 in.

シカゴ美術館

「アビキュー砂丘とメサ」(1945年)油彩・キャンバス、16×36インチ。
"美しい方法で空間を満たすこと、それが私にとっての芸術の意味です。"-ジョージア・オキーフ

イメージギャラリー

追加リソース

サンタフェのジョージア・オキーフ美術館が提供するニューメキシコ州アビキウのオキーフの家のビデオツアーを見る
ジョージア・オキーフ美術館の「Houses of My Own」を見て、感動的なアビキューの風景とその綿の木について学ぶ
ジョージア・オキーフ美術館のコレクションから、オキーフのコットンウッドシリーズをもっと見る
HJFAシニアキュレーター、チップ・トムがオキーフのコットンウッドシリーズを語る

認証

Cottonwood Tree (Near Abiquiu), New Mexico, 1943 は、Barbara Buhler Lynes による Georgia O'Keeffe の作品カタログレゾネで1066番として掲載されています。この絵は第2巻の670ページに図版が掲載されています。

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