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

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Bogart, Michele H. Artists, Advertising, and the Borders of Art. Chicago & London: The University of Chicago Press, 1995. Boime, Albert. The Academy and French Painting in the Nineteenth Century. New York: Phaidon, 1971. ———. Strictly Academic: Life Drawing in the Nineteenth Century. Binghamton, New York: University Art Gallery, State University of New York, 1974. Bolger, Doreen. “Hamilton Easter Field and His Contribution to American Modernism.” The American Art Journal XX, no. 2 (1988): 79-107. Bourgeois Galleries. “Exhibition of Modern Art.” New York Times, 2 April 1916. Bowdoin, W. G. “Georgia O'Keeffe Holds a Century Show of Her Work.” The Evening World, 2 February 1923. Braggiotti, Mary. “Her Worlds Are Many.” New York Post, 16 May 1946. Brennan, Marcia. “Alfred Stieglitz and New York Dada: Faith, Love and the Broken Camera.” History of Photography 21, no. 2 (1997): 156-61. ———. “Alfred Stieglitz and Paul Rosenfeld: an Aesthetics of Intimacy.” History of Photography 23, no. 1 (1999): 73-81. ———. Painting Gender, Constructing Theory: the Alfred Stieglitz Circle and American Formalist Aesthetics. Cambridge, MA: MIT Press, 2001. Breuning, Margaret. “Art World Events.” New York Evening Post, 16 January 1933. ———. “Art World Events: Georgia O'Keeffe.” New York Evening Post, 15 February 1934. ———. “Seven Americans.” New York Evening Post, 14 March 1925. Briggs, Patricia. “Alfred Stieglitz, Women Artists and Modern Dance.” History of Photography 20, no. 4 (1996): 335-36. Brodie, Judith, and Andrew Robison, eds. A Century of Drawing: Works on Paper From Degas to LeWitt. Washington, D.C.: National Gallery of Art, 2001. Brooks, Van Wyck. America's Coming-of-Age. 3rd printing. New York: Viking Press, 1930. Brown, Milton W. The Story of the Armory Show. second ed. New York: Abbeville Press, 1988. Bry, Doris. Alfred Stieglitz and An American Place, 1929-1946. New York: Zabriskie Gallery, 1978. 424
Bryant, Keith L. Jr. William Merritt Chase: a Genteel Bohemian. Columbia and London: University of Missouri Press, 1991. Burns, Sarah. “Old Maverick to Old Master: Whistler in the Public Eye in Turn-of-the- Century America.” American Art Journal 22, no. 1 (1990): 28-49. Caffin, Charles H. “Eduard J. Steichen's Work -- an Appreciation.” Camera Work 2 (1903): 21-24. ———. Photography As a Fine Art. reprint ed. New York: American Photographic Book Publishing Co., Inc., 1972. ———. “Picasso's Latest Pictures of Intellectualized Sensations.” New York American, 14 December 1914. Cahill, Holger. Max Weber. New York: Downtown Gallery, 1930. Canaday, John. “Editorial: on Drawings.” Art in America, no. five (1964): 21. Cary, Elizabeth Luther. “Picabia and Picasso.” The New York Times, 24 January 1915. ———. “Picasso and Mexico at the Photo Secession Galleries.” The New York Times, 20 December 1914. Castro, Jan Garden. The Art and Life of Georgia O'Keeffe. New York: Crown Publishers, Inc., 1985. Cennini, Cennino. The Book of the Art of Cennino Cennini: a Contemporary Practical Treatise on Quattrocento Painting. Translator Christiana J. Herringham. London: George Allen & Unwin, Ltd., 1922. Champney, J. Wells. “Relation of Photography to Art.” Camera Notes 1, no. 4 (1898): 93-94. Chave, Anna C. “O'Keeffe and the Masculine Gaze.” Art in America 78 (1990): 114-25, 177-79. Cheney, Martha Chandler. Modern Art in America. New York: Whittlesey House, 1939. Clark, John S., Mary Dana Hicks, and Walter S. Perry. The Prang Elementary Course in Art Instruction: 4th Year. Boston: The Prang Educational Company, 1897. ———. The Prang Elementary Course in Art Instruction: Seventh Year, First Half, Number 9. Boston: The Prang Educational Company, 1898. Clark, John Spencer. American Text-Books of Art Education, No. 6. Clark ed. Boston: L. Prang & Co., 1888. ———. American Text-Books of Art Education, No. 7. Boston: L. Prang & Co., 1888. 425
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ABSTRACT Title of Dissertation / Th
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“LIVING ON PAPER:” GEORGIA O’
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Dedication This dissertation is ded
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Professor Promey and the other memb
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of American Art, Judith E. Throm, W
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At the University of Maryland, I ex
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that I appreciated and enjoyed draw
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Periodicals and Books as Sources fo
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List of Figures This dissertation d
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List of Figures Figure 1.21 - Paul
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List of Figures Figure 2.19 - Georg
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List of Figures Figure 3.19 - Pablo
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List of Figures Figure 3.42 - Mariu
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List of Figures Key Set #402. Picab
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List of Figures Figure 5.38 - Alfre
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Introduction The Drawings and Water
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her drawings and watercolors. I obs
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Each medium gives artists who emplo
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viability of photography as fine ar
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modernist experiments while she tea
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discussion. It was different from a
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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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Page 417 and 418: artist herself. Thus, Stieglitz, in
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Page 421 and 422: After her 1919 charcoal drawings No
Page 423 and 424: Stieglitz-supported John Marin as a
Page 425 and 426: When O’Keeffe returned fully to a
Page 427 and 428: in 1917. 145 O’Keeffe recalled ma
Page 429 and 430: that same year he said, “he had l
Page 431 and 432: “Why don’t you do more in this
Page 433 and 434: erroneously, Texas), followed by he
Page 435 and 436: her in his monologues about her gra
Page 437 and 438: Notes 1 Richard Whelan, Alfred Stie
Page 439 and 440: 36 Margaret Olin, “Gaze,” in Cr
Page 441 and 442: 68 This image “is a key picture i
Page 443 and 444: 104 Greenough, “The Key Set,” A
Page 445 and 446: 144 O'Keeffe: Exhibition, Watercolo
Page 447 and 448: Conclusion On January 1, 1916, a ro
Page 449 and 450: addition, charcoal was the medium f
Page 451 and 452: As O’Keeffe made her abstract cha
Page 453 and 454: O’Keeffe adapted her abstract vis
Page 455 and 456: to make sure that visitors to his g
Page 457 and 458: Notes 1 Pollitzer to O’Keeffe, Oc
Page 459 and 460: “An American Collection.” The P
Page 461 and 462: The Mortar-Board. Chatham, Virginia
Page 463: Aperture and Dorothy Norman. “The
Page 467 and 468: Demachy, Robert. “The Gum-Print.
Page 469 and 470: Finch, Christopher. American Waterc
Page 471 and 472: Goethe, Johann Wolfgang von. Goethe
Page 473 and 474: Hartmann, Sadakichi. Sadakichi Hart
Page 475 and 476: Jirat-Wasiutsynski, Vojtech and The
Page 477 and 478: ———. O'Keeffe and Me: a Treas
Page 479 and 480: Merrill, Linda, Robyn Asleson, Lee
Page 481 and 482: ———. “Stieglitz: His Pictur
Page 483 and 484: ———.”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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