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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.
木棉树（近阿比丘），新墨西哥州194336 x 30 in.(91.44 x 76.2 cm)布面油画
种源
美国的一个地方，纽约
马克斯-阿斯科利先生和夫人，纽约，1944年
家族中的后裔
哈罗德-戴蒙德，纽约，约1975年
杰拉尔德-彼得斯画廊，圣菲，新墨西哥州
伊莱恩-霍里奇画廊，斯科茨代尔，亚利桑那州，1978年
E. Parry Thomas先生和夫人的收藏，拉斯维加斯，内华达，1978年
私人收藏，美国
展会信息
纽约，纽约，美国地方，乔治亚·奥基夫，绘画 – 1943 年，1944 年 1 月 11 日至 3 月 11 日，第 8 期
佛罗里达西棕榈滩，安诺顿雕塑花园，Discoveri...更。。。ng 创造力：美国艺术大师，2024 年 1 月 10 日至 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，第670页。
...少。。。
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"我发现我可以用颜色和形状来表达我无法用其他方式表达的东西--我无话可说的东西。"-乔治亚-奥基夫（Georgia O'Keeffe

历程

美国知名艺术家乔治亚-奥基夫（Georgia O'Keeffe）的《木棉树（靠近Abiquiu），新墨西哥州 》（1943年）是沙漠给她带来的更大气、更自然风格的典范之作。O'Keeffe对西南地区的独特之美情有独钟，她把家安在了她经常画的那些骨瘦如柴的树木、戏剧性的远景和漂白的动物头骨之间。奥基夫住在幽灵牧场，一个位于新墨西哥州北部Abiquiú村外12英里的花花公子牧场，并在那里画了这棵木棉树。与这一主题相适应的柔和风格与她大胆的建筑景观和宝石色调的花朵有所不同。

木棉树被抽象成柔和的绿色斑块，透过这些绿色斑块可以看到更多的树枝，在蓝天的衬托下在空间中盘旋。树干的造型和树叶的微妙能量延续了过去对东北地区树木的实验，这些树木多年前就吸引了奥基夫：枫树、栗子、雪松和杨树等等。1924年的两幅戏剧性的画作《秋天的树，枫树》和《灰色的栗子》，分别是抒情和坚决的中心思想的早期实例。从这些早期的树画中可以看出，奥基夫用色彩和形式夸大了她的主题的感性。

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  • 乔治亚-奥基夫在新墨西哥州的幽灵牧场画了一个类似的主题

    乔治亚-奥基夫在新墨西哥州的幽灵牧场画了一个类似的主题

    安塞尔-亚当斯的照片
  • 乔治亚-奥基夫，1953年，在她的Abiquiu工作室的办公桌上，她的一幅较小的木棉画。

    乔治亚-奥基夫，1953年，在她的Abiquiu工作室的办公桌上，她的一幅较小的木棉画。

    摄影：劳拉-吉尔平
  • "枯木棉树》（1943年）

    "枯木棉树》（1943年）

    圣巴巴拉艺术博物馆
  • "秋天的树，枫叶"（1924年）。

    "秋天的树，枫叶"（1924年）。

  • "栗子灰"(1924)

    "栗子灰"(1924)

"一座山或一棵树不能成为一幅好画，因为它是一座山或一棵树。它是线条和颜色组合在一起的，所以它们能说明一些问题。对我来说，这就是绘画的基础。抽象往往是我自己心中无形的东西的最明确的形式，我只能用绘画来澄清。"-乔治亚-奥基夫（Georgia O'Keeffe

市场情报

  • 根据艺术市场研究公司绘制的图表，自 1976 年以来，乔治亚-奥基弗的市场价格以 12.7% 的复合年回报率增长。

  • 乔治亚-奥基夫的拍卖纪录是在 2014 年以《Jimson Weed/White Flower No.1》超过 4440 万美元的价格创下的。这仍然是女艺术家在拍卖会上的最高成交价。

  • 即使在2020年大流行期间，奥基夫的市场略有下滑（如AMR图所示），ArtPrice的全球拍卖成交额指数显示，奥基夫在那一年从第263位上升到销量最高的艺术家第63位，说明奥基夫的画作仍然有越来越大的需求，尤其是与其他艺术家在同一时期的表现相比。

  • 在过去的 40 年里，平均每年大约只有 4 幅奥基弗的画作在拍卖会上出售。

拍卖会的最高结果

布面油画，48 x 40英寸。在纽约苏富比售出：2014年11月20日。

"Jimson weed/ White flower no.1"（1932 年）的成交价为 4,405,000 美元。

布面油画，48 x 40英寸。在纽约苏富比售出：2014年11月20日。
布面油画，36 x 30英寸。在纽约佳士得出售：2022年11月9日。

"White Rose with Larkspur No.I"（1927 年）以 2,672.5 万美元成交。

布面油画，36 x 30英寸。在纽约佳士得出售：2022年11月9日。
布面油画，48 x 30 英寸。于 2023 年 5 月 11 日在纽约佳士得拍卖行售出。

"黑鸢六号"（1936 年）以 2,110,000 美元的价格售出。

布面油画，48 x 30 英寸。于 2023 年 5 月 11 日在纽约佳士得拍卖行售出。
布面油画，32 x 21英寸。在纽约佳士得出售：2022年11月9日。

"秋叶 II》（1927 年）以 1527.5 万美元成交。

布面油画，32 x 21英寸。在纽约佳士得出售：2022年11月9日。

同类拍卖的画作

布面油画，20 x 30英寸。在纽约佳士得出售：2022年11月9日。

"红山白云》（1936年）以1229.8万美元成交。

布面油画，20 x 30英寸。在纽约佳士得出售：2022年11月9日。
  • 更广阔的沙漠景观，这幅画在微软联合创始人保罗-艾伦的收藏品拍卖会上售出 
  • 大自然常常是奥基夫的艺术主题，在这幅风景画的远处可以看到一些木棉树。
布面油画，25 1/2 x 21英寸。在纽约苏富比出售：2018年5月14日。

"乔治湖与白桦树"（1921年）以11,292,000美元成交。

布面油画，25 1/2 x 21英寸。在纽约苏富比出售：2018年5月14日。
  • 这幅题材相似的早期画作，虽然规模较小，但在2018年以超过1120万美元的价格成交，是奥基夫的第三高拍卖价。
  • 自然题材，尤其是树木，是奥基夫经常关注的焦点。
布面油画，16 x 36英寸。在纽约佳士得售出：2018年5月9日。

"新墨西哥州阿比丘附近"（1931年）以841.25万美元成交。

布面油画，16 x 36英寸。在纽约佳士得售出：2018年5月9日。
  • 比木棉树更小的作品（靠近Abiquiu），新墨西哥州
  • 一幅来自新墨西哥州同一地区的早期风景画，这幅作品在2018年以超过840万美元的价格售出
布面油画，36 x 30英寸。在纽约佳士得出售：2018年11月20日。

"乔治湖的红枫"（1926年）以818.75万美元成交。

布面油画，36 x 30英寸。在纽约佳士得出售：2018年11月20日。
  • 这幅同样大小的奥基夫自然题材作品在2018年以超过818万美元的价格成交。
  • 1926年的较早例子
布面油画，10.1 x 24英寸。在纽约苏富比拍卖会上出售：2020年3月5日。

"自然形态-加斯佩"（1931年）以687.02万美元成交。

布面油画，10.1 x 24英寸。在纽约苏富比拍卖会上出售：2020年3月5日。
  • 小规模、抽象的自然主题
  • 最近以超过687万美元售出

疤痕

奥基弗博物馆
奥基弗博物馆
  • 奥基夫43%的画作已经被博物馆收藏。
  • 在奥基芙创作的 616 幅布面油画作品中，只有不到 300 幅被私人收藏。
  • 随着时间的推移，许多目前由私人收藏的奥基夫的画作将被遗赠给博物馆，留下的画作将很少有机会。
  • 从 1943 年到 1945 年，奥基弗仅用了两年时间首次在阿比奎为木棉树作画，并且仅为这个核心系列创作了 9 幅作品。其中 6 幅被博物馆永久收藏，只有 3 幅由私人收藏。
  • 欧姬芙的《木棉树》（CottonwoodTrees），包括 1943-1945 年最初的核心系列和后来的作品，均被乔治亚-欧姬芙博物馆、巴特勒美国艺术学院和波士顿美术馆等知名博物馆收藏。

博物馆收藏的木棉、树木和阿比丘的绘画作品

"春天的木棉树"（1943年）布面油画，30 1/16 x 36 1/8英寸。

乔治亚-奥基夫博物馆，圣菲

"春天的木棉树"（1943年）布面油画，30 1/16 x 36 1/8英寸。
"枯木棉树》（1943年），布面油画，36 x 30英寸。

圣巴巴拉艺术博物馆

"枯木棉树》（1943年），布面油画，36 x 30英寸。
"无题（木棉树）"（1945年）油画板，24 1/4 x 20英寸。

乔治亚-奥基夫博物馆，圣菲

"无题（木棉树）"（1945年）油画板，24 1/4 x 20英寸。
"Cottonwood III"（1944），布面油画，20 x 30英寸。

巴特勒美国艺术学院，俄亥俄州

"Cottonwood III"（1944），布面油画，20 x 30英寸。
"木棉和Pedernal"（1948）布面油画，10 x 12英寸。

乔治亚-奥基夫博物馆，圣菲

"木棉和Pedernal"（1948）布面油画，10 x 12英寸。
"有粉红山的枯树"（1945年），布面油画，30 x 40英寸。

克利夫兰艺术博物馆

"有粉红山的枯树"（1945年），布面油画，30 x 40英寸。
"裸露的树干与雪"（1946年），布面油画，29 1/2 x 39 1/2英寸。

达拉斯艺术博物馆

"裸露的树干与雪"（1946年），布面油画，29 1/2 x 39 1/2英寸。
"春天的树1号"（1945年），布面油画

新墨西哥艺术博物馆，圣菲

"春天的树1号"（1945年），布面油画
"Abiquiu Trees VII"（1953年），布面油画，10 1/8 x 12 1/8英寸。

波士顿美术博物馆

"Abiquiu Trees VII"（1953年），布面油画，10 1/8 x 12 1/8英寸。
"黑暗的树干"（1946年），布面油画，40 x 30英寸。

布鲁克林博物馆，纽约

"黑暗的树干"（1946年），布面油画，40 x 30英寸。
"新墨西哥州阿比丘附近》（1930年），布面油画，10英寸。× 24 1/8 in.

大都会艺术博物馆，纽约

"新墨西哥州阿比丘附近》（1930年），布面油画，10英寸。× 24 1/8 in.
"山，新墨西哥"（1931年），布面油画，30 1/16 × 36 1/8英寸。

惠特尼美国艺术博物馆，纽约

"山，新墨西哥"（1931年），布面油画，30 1/16 × 36 1/8英寸。
"无题（新墨西哥州风景）》（约1943年）布面油画，13 x 33 1/8英寸。

乔治亚-奥基夫博物馆，圣菲

"无题（新墨西哥州风景）》（约1943年）布面油画，13 x 33 1/8英寸。
"Cliffs Beyond Abiquiu, Dry Waterfall"（1943年），布面油画，30 x 16英寸。

克利夫兰艺术博物馆

"Cliffs Beyond Abiquiu, Dry Waterfall"（1943年），布面油画，30 x 16英寸。
"Abiquiu沙山和梅萨"（1945年），布面油画，16 x 36英寸。

芝加哥艺术学院

"Abiquiu沙山和梅萨"（1945年），布面油画，16 x 36英寸。
"以一种美丽的方式填满一个空间--这就是艺术对我的意义。"-乔治亚-奥基夫

图片库

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其他资源

观看由圣达菲乔治亚-奥基夫博物馆介绍的奥基夫在新墨西哥州阿比丘的家的视频之旅。
观看由圣达菲乔治亚-奥基夫博物馆介绍的奥基夫在新墨西哥州阿比丘的家的视频之旅。
观看乔治亚-奥基夫博物馆的 "我的房子"，了解更多关于鼓舞人心的Abiquiu景观和它的木棉树。
观看乔治亚-奥基夫博物馆的 "我的房子"，了解更多关于鼓舞人心的Abiquiu景观和它的木棉树。
在乔治亚-奥基夫博物馆的收藏中探索更多奥基夫的木棉系列作品
在乔治亚-奥基夫博物馆的收藏中探索更多奥基夫的木棉系列作品
HJFA高级策展人Chip Tom讨论奥基夫的木棉系列作品
HJFA高级策展人Chip Tom讨论奥基夫的木棉系列作品

认证

O'Keeffe 40147 CR

木棉树（近阿比丘），新墨西哥州，1943年，在Barbara Buhler Lynes的Georgia O'Keeffe的艺术作品目录中被列为1066号。这幅画在第二卷的第670页上有插图。

见《Raisonné目录》。

询问

查询 - 艺术单品

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