- Page 1 and 2: ABSTRACT Title of Dissertation / Th
- Page 3: “LIVING ON PAPER:” GEORGIA O’
- Page 7 and 8: Professor Promey and the other memb
- Page 9 and 10: of American Art, Judith E. Throm, W
- Page 11 and 12: At the University of Maryland, I ex
- 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 23 and 24: List of Figures Figure 2.42 - Georg
- Page 25 and 26: List of Figures Figure 3.19 - Pablo
- Page 27 and 28: List of Figures Figure 3.42 - Mariu
- Page 29 and 30: List of Figures Figure 4.19 - Georg
- Page 31 and 32: List of Figures Figure 4.42 - Georg
- Page 33 and 34: List of Figures Figure 4.66 - Georg
- Page 35 and 36: List of Figures Figure 4.89 - Georg
- 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
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- 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
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impresario of the modern movement i
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Stieglitz’s appreciation for new
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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
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Bryant, Keith L. Jr. William Merrit
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Demachy, Robert. “The Gum-Print.
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Finch, Christopher. American Waterc
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Goethe, Johann Wolfgang von. Goethe
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Hartmann, Sadakichi. Sadakichi Hart
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Jirat-Wasiutsynski, Vojtech and The
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———. O'Keeffe and Me: a Treas
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Merrill, Linda, Robyn Asleson, Lee
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———. “Stieglitz: His Pictur
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———.”Women Artists: the Nat
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South, Will. “Stanton Macdonald-W
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Tomkins, Calvin. “Profiles: the R
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Withers, Josephine. “Artistic Wom