the Lawrence tree by georgia o'keeffe

art 2

where and when was O'Keefe born

wisconsin in 1887

what yr was Lawrence tree made

1929

where does the trunk start from

upper left corner

one of the youngest members of the steiglitz circle

o’keeffe

starting in (yr), o’keeffe attended the (school) before leaving to study in (state) in (yr)

1905; school of the art institute of chicago; new york in 1907

in new york, who did o’keeffe learn painting with

william Merritt chase

who was a crucial infleucne to o’keeffe (2)

arthur Wesley dow and Vasily kadinsky

arthur Wesley dow, an (job) and (job) whose book (name) (yr) derived its aesthetic principles from (region), particularly (ethnicity), art

art teacher and theorist; composition (1899); east Asian; japanese

dow’s philopshy stressed

connections across the arts and advanced the idea of music as a nonrepresentational art that could serve as a model for abstract painting

vasily kadinsky was a (ethnicity) (job) and (movement) painter

russian educator and expressionist painter

kadinsky’s book (yr published, yr translated into English)

on the spiritual in art (1912, 1914)

much of o’keeffe’s work uses

biomorphic abstraction

biomorphic abstraction

takes forms from the natural world, incorporating references to the human body, plants, trees, water, other landscape elements

what piece made by o’keeffe uses music/sound as the inspo (name, yr)

blue and green music (1918)

the music inspos approach came from (century) painters like (name) who thought of his works in terms of color “blank” and “blank”

19th; James Abbott mcneill whistler; harmonies and symphonies

kadinsky called his works “blank” and “blank”

compositions and improvisations

kadisnky’s commentary on the formal similarities between art and music in (book) included the idea that paintings could be “quote” that used (blank) instead of musical notation

on the spiritual in art; new symphonic construction[s]; brushstrokes

kadisnky influenced who else in steiglitz circle

arthur g dove

arthur g dove work (name, yr, what is showed)

george Gershwin - Rhapsody in blue, part 1 (1927)

used biomorphic abstraction to echo syncopation of jazz music

in (yr) stieglitz presented o’keeffe’s work in a solo show, the first of many o’keeffe exhibitions he sponsored over the next # yrs

1917; 25

o’keeffe often served as a model for stieglitz’s photographic portraits of her, featuring close-ups of (3 body parts)

her face, hands, naked torso

in (yr), steiglitz and o’keeffe married and explain their relationship

1924; steiglitz supported her career but he also tried to control the imagery she chose, positioning her as a representative of an idealized “feminine voice” that was an unconscious reflection of an “inner self”

o’keeffe is best known for

closely cropped, colorful painting of floral imagery

o’keeffe geometric abstraction

the Shelton with sunspots, N.Y. (1926) that featured skyscrapers of NYC

in the (part-decade), o’keefe made her first trip to (state)

late-1920s; new mexico

in New Mexico, o’keeffe began painting what (3)

representations of the desert landscape[e, animal skulls, pilgrimage crosses made by the Hispanic Catholic peoples of the area

artist, name, yr, material, where it is now

alfred Stieglitz, Georgia o’keeffe, 1918. gelatin silver print. art institute of chicago

artist, name, location, yr, where it is now

marsden Hartley, landscape no. 3, cash entry mines, new Mexico, 1920. art institute of chicago

when did Stieglitz die

1949

in (yr), o’keeffe moved to (city, state) where she lived and worked until her death in (yr) at the age of (age)

1949; abiquiu, new Mexico; 1986; 98

in (yr), painters (name) and (name) were on a journey through the southwest when they stopped in (city, state), an indigenous village whose original construction dates back around a # yrs, nestled near the (mountains)

1898; Ernest blumenschein and bert geer Phillips; taos pueblo, new Mexico; thousand; Sangre de cristo

what did the people speak in Taos pueblo

tiwa

phillips and blumenschein were the first modern artists to settle in Taos, founding the (blank), a group of artists who were interested in representing the local landscape, people, and traditions in a modernist style

taos art colony

in (yr), blumenschein and # other painters established the (blank), which provided euro-american artists with support for exhibiting and publicizing their work

1915; 2; Taos society of artists

how did artists describe life in the southwest

a timeless place that could provide an escape from modern urban life

by (yr), (name) also found inspiration for his art in Taos, mocked how consumers had commercialized and exotified native American culture and handicrafts. his (type of art) (piece name) shows a mass of buses carrying white tourists surrounding ceremonial dancers

1927; John Sloan; print The Indian Detour

in (yr), socialite (name) moved to Taos and purchased a large property, later marrying a local indigenous man (name) (often anglicized to (name)).

1917; Mabel Dodge; tony lujan; luhan

dodge luhan’s guests included (8: 2 British, 3 ameri authors, 3 artists)

british novelist D. H. Lawrence and wife Frieda; American authors Jean toomer, Thornton wilder, Carl van vechten; artists o’keeffe, Ansel Adams, marsden hartley

after staying with Dodge luhan in (yr), the lawrence’s purchased a part of her property

1922

lawrences used the new property as a base where they lived between frequent journey to (country) between (yr and yr)

mexico; 1922-1925

lawrence controversial novels (2)

women in love (1920); lady chatterley’s lover (1928)

under what tree would lawrence write his books

large ponderosa pine tree

what did lawrence write in taos (2)

literary criticism and part of a novel about Mexico, the Plumed Serpent (1926)

o’keeffe went to stay with luhan in (season, yr)

the summer of 1929

the Lawrence tree’s colors (3)

deep blackish-green (canopy), reddish-brown (trunk and branches), medium blue (night sky peppered with stars)

when was the photo of d.h Lawrence taken

1929

the trunk’s shape provides an impression of

rushing movement, thematizing the tree’s invisible but constant growth

the canopy resmebles (2)

clouds, squirts of ink

who describes the tree as an “organic octopus-like form”

beth harris

o’keeffe instructed that the painting be hung how

so the tree “appeared to be standing on its head” —> unmoors the spectator from traditional perspectival recession or the landscape conventions of foreground, middle ground, and background

did o’keeffe ever meet lawrence

no

o’keeffe appreciated lawrence’s writing for (2)

its honesty and lack of shame about sexual relationships and spiritual reverence for nature

lawrence imagines trees almost as (blank) in his essay “name” (yr), in which he described a tree as “quote”

sentient beings; pan america 1926; a strong-willed, powerful thing-in-itself, reaching up and reaching down