ABSTRACT Title of Dissertation / Thesis: “LIVING ON PAPER ...

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It has been a privilege to spend the final year of writing my dissertation as a University of Maryland Museum Fellow at the National Gallery of Art. I am indebted to Faya Causey and Jennifer Wagelie of the Department of Academic Programs. I have learned much from the collections research I did for the Department of Modern and Contemporary Art under the benevolent supervision of Associate Curator Leah Dickerman and Curator Jeffrey Weiss. I appreciate the warm reception of department members Marcie Hocking, Lindsay MacDonald, Molly Donovan, Jennifer Roberts, and Mark Levitch. Fellows and interns at the Gallery became friends, including Mary Pixley, Daniela Cini, Emma Acker, Clarissa Fostel, C.D. Dickerson and others. Those in other departments of the National Gallery who helped me with both my research for the National Gallery and my research for my dissertation, include Greg Jecmen of the Department of Prints and Drawings, Charles Brock of the Department of American Art, Anne Halpern of Curatorial Records, Elizabeth Concha in Italian Renaissance Paintings, and librarians Roberta Geier, Ted Dalziel, Thomas McGill, Jr., among others. Two National Gallery staff members have become special mentors to me. Curator of Special Projects in Modern Art Ruth Fine, author of many of my key sources, opened my eyes to the difficulties and ramifications of the large topic I had chosen for my dissertation. She then helped me to discover my own ideas and pursue them. Senior Paper Conservator Judith Walsh, who during her work on the Georgia O’Keeffe Catalogue Raisonné saw nearly every work on paper the artist ever made, shared her insights with me during an incredible morning when we went through all the O’Keeffe works on paper in the collections of the National Gallery of Art. The importance of that morning and other conversations we have had is reflected in many citations in this text. vii
At the University of Maryland, I experienced unwavering support and fellowship from the staff, professors, and graduate art history students in the Department of Art History and Archaeology. Among those who deserve special mention for encouraging me are Professors Arthur Wheelock, Jr., William Pressly, and Marjorie Venit. Lauree Sails and Henry “Quint” Gregory have made the Visual Resources Center a home not only for images but for people and ideas. The staff members of the Art History and Archaeology Library, including Lynne Woodruff, Joan Stahl, and Louise Green, have answered my many requests for help. Before her untimely passing, Graduate Secretary Kathy Canavan was a tremendous force for good in the department and always made me feel at home there. I have enjoyed being part of a great dissertation writing group. My thanks go to Christopher Slogar, Leslie Brice, and Elizabeth MacKenzie Tobey for hosting meetings, reading and responding to my chapters, and sharing their insights and experiences with me. While writing about Georgia O’Keeffe, I had the fun of learning about terracottas from Calabar, Haitian vodou, and the palio banners of renaissance Italy. Chris’s cat Clio, Leslie’s cat Anouk, and Liz’s cat Tartuca always provided beauty and purring at our meetings. Liz Tobey deserves an extra measure of gratitude for driving with me from Bethesda, Maryland, to Santa Fe, New Mexico, in winter cold, and for climbing Elliott Knob with me in the Virginia summer heat. She also made sure that I took time off from writing to take refreshing trips with her to Chincoteague and Middleburg, Virginia, and to Italy. viii
Page 1 and 2: ABSTRACT Title of Dissertation / Th
Page 3 and 4: “LIVING ON PAPER:” GEORGIA O’
Page 5 and 6: Dedication This dissertation is ded
Page 7 and 8: Professor Promey and the other memb
Page 9: of American Art, Judith E. Throm, W
Page 13 and 14: that I appreciated and enjoyed draw
Page 15 and 16: Periodicals and Books as Sources fo
Page 17 and 18: List of Figures This dissertation d
Page 19 and 20: List of Figures Figure 1.21 - Paul
Page 21 and 22: List of Figures Figure 2.19 - Georg
Page 25 and 26: List of Figures Figure 3.19 - Pablo
Page 27 and 28: List of Figures Figure 3.42 - Mariu
Page 37 and 38: List of Figures Key Set #402. Picab
Page 39 and 40: List of Figures Figure 5.38 - Alfre
Page 41 and 42: Introduction The Drawings and Water
Page 43 and 44: her drawings and watercolors. I obs
Page 45 and 46: Each medium gives artists who emplo
Page 47 and 48: viability of photography as fine ar
Page 49 and 50: modernist experiments while she tea
Page 51 and 52: discussion. It was different from a
Page 53 and 54: I find Harrison’s essay on modern
Page 55 and 56: impresario of the modern movement i
Page 57 and 58: Stieglitz’s appreciation for new
Page 59 and 60: 1918. And, on the other side of the
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a modernity not yet fully in place,
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For my own work, perhaps the most e
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materials Greenough’s team at the
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The roots of the perceived division
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form. . . . Third, touch is the tac
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other contexts of time and place. I
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Chapter Four: O’Keeffe’s Debut
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11 Lila Wheelock Howard, interview
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39 Ibid, 191-192. The essays by Cle
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79 Sarah E. Greenough ed., Modern A
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Chapter One: Alfred Stieglitz, the
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creative exchanges with draughtsmen
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young Alfred, graphic art was a fam
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Goethe, the author who was Stieglit
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Vogel. While Stieglitz at first fou
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of photochemistry and his efforts t
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Paul Delaroche described Louis-Jacq
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ing out expression and beauty. This
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1880s, drove the race to invent and
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God’s sake, Stieglitz,” someone
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frequently depends. It is, therefor
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membership in the established world
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kinds of artistic multiples, each p
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publications, however, and he repro
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Edward Steichen Joins the Stieglitz
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Stieglitz, with his keen desire to
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The annual Philadelphia photographi
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graphic art, however, they had long
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grayish tones and white, also refle
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Stieglitz, who later gave her two m
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such memoranda as these might be va
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forefront of modernism in America.
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threatened to close the gallery, Pa
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is not to be considered as a contri
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simple, open forms of Cézanne’s
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woodblock prints from a private col
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dependent on beauty as it exists in
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Notes 1 Stieglitz to Stanton Macdon
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36 Whelan, Alfred Stieglitz: a Biog
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78 F. Holland Day, “Art and the C
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122 Ibid, 206-207. 123 Alfred Stieg
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164 “Exhibitions Presented by Sti
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Chapter Two: The Formation of Georg
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here was a field that she could mak
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learn to draw from life. 18 The com
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outlined with black lead pencil - a
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a scrap of paper supported on her k
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copying of two-dimensional models,
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my own drawing. I wasn’t convince
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something she was determined to roo
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O’Keeffe would reenact this strug
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O’Keeffe may have drawn copies of
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drawings the young artist gave evid
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the Art Institute was a major chang
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hand impatiently racing her eye and
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critical obsession with finding ref
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2.27). He described the means of ac
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have played a part. 71 O’Keeffe
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sculptor, but found his sparse grap
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It contains, naturally, some excess
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from the League and elsewhere. 90 S
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agency. 97 In these positions, O’
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Alon Bement, a disciple and associa
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O’Keeffe Teaches Art in Amarillo,
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Notes 1 O’Keeffe biographer Hunte
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33 “By the end of the [nineteenth
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73 Student Record card for Georgia
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110 Lisle, Portrait: O’Keeffe, 58
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Stieglitz saw were charcoal drawing
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Bement and books he recommended con
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her new art to him for his critique
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In December 1914, gazing in puzzlem
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to a new level. American viewers at
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O’Keeffe and Pollitzer Question t
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O’Keeffe’s Art Made During the
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This incident could have happened a
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3.23-24) with abstract biomorphic f
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Many years later O’Keeffe corrobo
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was glad to have “time to get my
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the desire for approval from Stiegl
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I hung on the wall the work I had b
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of the first works that satisfied h
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charcoals. She said, “I made a cr
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she could concentrate on the new sh
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drawing to look and learn. By shift
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the accident of a randomly-selected
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weeks of making them, she was consc
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Anne Wagner envisions O’Keeffe in
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cover with a ramifying streak of ha
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Being printed largely in photogravu
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many forms O’Keeffe tried out for
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ground. In other areas of the same
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your definite meanings Pat - that i
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the music of it - with charcoal - a
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(Fig. 3.3), No. 3 - Special (Fig. 3
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the woman who had drawn these abstr
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There seems to be nothing for me to
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not know what you had in mind while
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correspondence into the O’Keeffe-
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I haven’t had time to try it yet
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ecognizable subject matter and abst
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O’Keeffe might find a more profit
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that she was about two hundred doll
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13 Dow “Modernism in Art,” 113.
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41 The blue crayon drawing by Marin
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80 Robinson, O'Keeffe: a Life, 117.
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115 Arthur Wesley Dow, Composition:
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154 The friability of charcoal “w
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176 I am judging what O’Keeffe se
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209 Ibid. 210 Charles C. Eldredge,
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watercolor and landscape at the sam
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oth oils and watercolors. Neither c
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Chinese and Japanese paintings and
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charcoal abstractions drawn with he
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copying and invented without loosin
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Virginia O’Keeffe is having a sho
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artist’s private mode of learning
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O’Keeffe was not the only artist
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“When I came away, I couldn’t h
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Judging from such reviews that Stie
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oke away from the established 291 l
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projecting his own thoughts and fee
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vague enough that it is not possibl
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But his letters Anita - they have b
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Watercolor, however, was no longer
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camped between small towns. O’Kee
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The red painted watercolor versions
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triangular geometry (Fig. 4.20) par
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liquid flow of her medium as she br
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series of four watercolors titled B
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with the rich liquid color of her w
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Today the photographs were here whe
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As Bram Dijkstra notes, O’Keeffe
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She found many stimulating subjects
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While both critics praised artists
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inspirational instant, saying, “T
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any of her art series. 169 The flow
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strove to balance the expressive po
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available or not (Fig. 4.63). She m
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O’Keeffe’s New York Exhibitions
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“sold,” 191 presumably indicati
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Texas.” 198 Henry Tyrrell’s rev
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unusual graphic work as a kind of d
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ewery. As Stieglitz wrote to Mitche
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August 21 and 22 (Fig. 4.72). The d
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Portrait - W -No. III O’Keeffe su
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endered as spread against the floor
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- both qualities communicated equal
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Stieglitz said he was going to but
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in San Antonio found a permanent pl
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Notes 1 O’Keeffe to Pollitzer, Ja
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33 O’Keeffe, Memories of Drawings
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Well, I had the headache, why not d
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90 “She chose Prussian blue appar
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mention how the artist could have k
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The writing by De Zayas to which O
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183 Pollitzer to O’Keeffe, Decemb
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223 Ibid. 224 O’Keeffe, introduct
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Chapter Five: O’Keeffe’s Drawin
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O’Keeffe hung a blanket over a cl
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Before the modern era, Stieglitz sa
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wanted to “snort” (presumably w
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O’Keeffe concluded that Stieglitz
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ecords. His work in thus moulding m
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hate my drawings - and am simply cr
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Alfred Maurer, an American artist i
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O’Keeffe and Stieglitz: Artist an
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While the closing of 291 meant that
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Hands and Touch in Stieglitz’s Ph
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which showed their marks (or rather
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In such images evoking the creative
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As previously mentioned, Stieglitz
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ody, including her hands, would be
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morbid mood or some attitude toward
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seen, and drawn, and her own flesh.
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the hands reveal the artist - metap
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works and provided comments upon th
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promised revelation of personal and
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artist herself. Thus, Stieglitz, in
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consciously mature modern artist, s
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After her 1919 charcoal drawings No
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Stieglitz-supported John Marin as a
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When O’Keeffe returned fully to a
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in 1917. 145 O’Keeffe recalled ma
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that same year he said, “he had l
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“Why don’t you do more in this
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erroneously, Texas), followed by he
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her in his monologues about her gra
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Notes 1 Richard Whelan, Alfred Stie
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36 Margaret Olin, “Gaze,” in Cr
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68 This image “is a key picture i
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104 Greenough, “The Key Set,” A
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144 O'Keeffe: Exhibition, Watercolo
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Conclusion On January 1, 1916, a ro
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addition, charcoal was the medium f
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As O’Keeffe made her abstract cha
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O’Keeffe adapted her abstract vis
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to make sure that visitors to his g
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Notes 1 Pollitzer to O’Keeffe, Oc
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“An American Collection.” The P
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The Mortar-Board. Chatham, Virginia
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Aperture and Dorothy Norman. “The
Page 465 and 466:
Bryant, Keith L. Jr. William Merrit
Page 467 and 468:
Demachy, Robert. “The Gum-Print.
Page 469 and 470:
Finch, Christopher. American Waterc
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Goethe, Johann Wolfgang von. Goethe
Page 473 and 474:
Hartmann, Sadakichi. Sadakichi Hart
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Jirat-Wasiutsynski, Vojtech and The
Page 477 and 478:
———. O'Keeffe and Me: a Treas
Page 479 and 480:
Merrill, Linda, Robyn Asleson, Lee
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———. “Stieglitz: His Pictur
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———.”Women Artists: the Nat
Page 485 and 486:
South, Will. “Stanton Macdonald-W
Page 487 and 488:
Tomkins, Calvin. “Profiles: the R
Page 489:
Withers, Josephine. “Artistic Wom
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