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

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———. American Text-Books of Art Education, No. 9. Boston: L. Prang & Co., 1886. ———. Teacher's Manual, Part 1, for Prang's Complete Courses in Form-Study and Drawing, Books 1. Boston, New York: The Prang Educational Company, 1890. Clark, T. J. Farewell to an Idea: Episodes From a History of Modernism. New Haven and London: Yale University Press, 1999. Cocke, Christine McRae. “Georgia O'Keeffe As I Knew Her.” The Angelos of Kappa Delta (1934): 30-32. Cohn, Marjorie B. Wash and Gouache: a Study of the Development of the Materials of Watercolor. Cambridge, MA: Published by The Center for Conservation and Technical Studies, Fogg Art Museum and The Foundation of the American Institute for Conservation, 1977. Colapietro, Vincent M., and Thomas M. Olshewsky, Eds. Peirce's Doctrine of Signs: Theory, Applications, and Connections. Berlin and New York: Mouton de Gruyter, 1996. Connor, Celeste. Democratic Visions: Art and Theory of the Stieglitz Circle, 1924-1934. Berkeley, Los Angeles, London: University of California Press, 2001. Corn, Wanda. The Great American Thing: Modern Art and National Identity, 1915-1935. Berkeley: University of California Press, 1999. Corn, Wanda M. “Apostles of the New American Art: Waldo Frank and Paul Rosenfeld.” Arts Magazine LIV, no. 6 (1980): 159-63. Cowart, Jack, and Juan Hamilton. Georgia O'Keeffe: Art and Letters. Letters selected and annotated by Sarah Greenough. Washington: National Gallery of Art, 1987. Craig, Edward Gordon. On the Art of the Theatre. London: Mercury Books, 1962. Crary, Jonathan. Techniques of the Observer: on Vision and Modernity in the Nineteenth Century. October Books. Cambridge, Massachusetts: MIT Press, 1990. Day, F. Holland. “Art and the Camera.” Camera Notes II, no. 1 (1898): 3-5. De Casseres, Benjamin. “Pamela Colman Smith.” Camera Work 27 (1909): 18-20. De Tolnay, Charles. History and Technique of Old Master Drawings: a Handbook. New York: H. Bittner and Company (in 1943) Hacker Art Books in 1972, 1972. De Zayas, Marius. How, When, and Why Modern Art Came to New York. Ed. Francis M. Naumann. Cambridge, MA and London, England: The MIT Press, 1996. Decker, Andrew. “The Battle Over Georgia O'Keeffe's Multi-Million-Dollar Legacy.” Art News 86 (1987): 120-127. 426
Demachy, Robert. “The Gum-Print.” Camera Work 7 (1904): 33-37. Dijkstra, Bram. Cubism, Stieglitz, and the Early Poetry of William Carlos Williams. Princeton, N.J.: Princeton University Press, 1978. ———. O'Keeffe and the Eros of Place. Princeton: Princeton University Press, 1998. Doty, Robert. Photo-Secession: Stieglitz and the Fine-Art Movement in Photography. New York: Dover Publications, Inc., 1978. Dove, Arthur, and Alfred Stieglitz. Dear Stieglitz, Dear Dove. Ed. Ann Lee Morgan. The American Arts Series. Newark, DE, London and Toronto: University of Delaware Press, Associated University Presses, 1988. Dow, Arthur Wesley. Composition: a Series of Exercises in Art Structure for the Use of Students and Teachers. 13th ed. Berkeley, Los Angeles, London: University of California Press, 1997. ———. “Modernism in Art.” Magazine of Art 8 (1917): 113-16. ———. “Printing From Wood Blocks.” The International Studio LIX, no. 233 (1916): LV-LVII. ———. “Talks on Appreciation of Art” Delineator 86 (1915): 15. ———. “Talks on Art Appreciation: IV. - Color.” Delineator 88 (1916): 15. ———. “Talks on Art Appreciation: No. II Rhythm.” Delineator (1915): 15. ———. “Talks on Art Appreciation: No. III Dark-And-Light.” Delineator (1915): 15. ———. The Theory and Practice of Teaching Art. 2nd ed. New York: Teachers College, Columbia University Press, 1912. Drohojowska-Philp, Hunter. Full Bloom: the Art and Life of Georgia O'Keeffe. New York and London: W. W. Norton & Company, 2004. ———. “The Undiscovered O'Keeffe.” Artnews (2000): 144-48. Druik, Douglas W. Groom Gloria Leeman Fred Sharp Kevin Stevens Maryanne Stratis Harriet K. Zegers Peter Kort. Odilon Redon: Prince of Dreams, 1840-1916. Chicago, Amsterdam, and London: The Art Institute of Chicago, Van Gogh Museum, and Royal Academy of Arts, in association with Harry N. Abrams, Publishers, 1994. Duncan, Carol. “Virility and Domination in Early Twentieth-Century Vanguard Painting.” in Feminism and Art History: Questioning the Litany. Ed. Norma Broude, and Mary D. Garrard, 292-313. New York: Harper & Row, Publishers, 1982. 427
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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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works and provided comments upon th
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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 and 464: Aperture and Dorothy Norman. “The
Page 465: Bryant, Keith L. Jr. William Merrit
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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