Happy Birthday, Georgia O'Keeffe!

Georgia O'Keeffe, hands 1918
Photo by Alfred Stieglitz

Today we celebrate the birth of one of the most influential and well-known female artists of the 20th century. Born in 1887 in Sun Prairie, Wisc., O’Keeffe was the second of seven children born to a pair of dairy farmers. Her maternal grandfather and namesake, George Victor Totto, was a Hungarian count who immigrated to the United States in 1848.  Known today for her intense and vibrant paintings, O’Keeffe made the decision to become an artist at the wise age of 10, and, along with her sister, received her first instruction from watercolorist Sara Mann.

When the O’Keeffe family moved to Williamsburg, Va., in 1902, Georgia remained in Wisconsin with her aunt to attend school before making the move to join her family in 1903. After graduating from high school in 1905, O’Keeffe went to study at the School of the Art Institute in Chicago until 1906. From there she enrolled in the Art Students League in New York City, where she happened to study under William Merritt Chase. In 1908 she won a still-life prize named for Chase at the League for one of her oil paintings.

That same year, after attending an exhibition of Auguste Rodin’s watercolors at Alfred Stieglitz’s 291 gallery, O’Keeffe gave up the idea of being a professional artist, believing that she could never distinguish herself from the painters from whom she had learned. She did not paint again for four years.

In 1912, O’Keeffe attended a class at the University of Virginia Summer School, where she was introduced to the innovative ideas and techniques of Arthur Wesley Dow, who was best known for teaching that instead of copying nature, art should focus on the elements of the composition, such as line, mass and color. These ideas inspired O’Keeffe to pick up her brush once more and she ended up teaching art in public schools in Amarillo, Tex., from 1912 to 1914. She still took classes from Dow, who helped shape her thought-process as she painted. After teaching at Columbia University in South Carolina until 1916, O’Keeffe took the job as head of the art department at still young West Texas A&M University in Canyon, Tex., where she stayed until 1918. During that time she made multiple expeditions into the Palo Duro Canyon, using the rock formations as subjects in many of her works.

It was in 1916 that O’Keeffe’s work made an impact on the New York art community. Anita Pollitzer, a photographer and friend of O’Keeffe’s from Columbia University, mailed a few of O’Keeffe’s charcoal drawings to Stieglitz, not only a gallery owner but a photographer (and O’Keeffe’s future husband). Stieglitz told Pollitzer that the drawings were the “purest, finest, sincerest things that had entered 291 in a long while.” In April of that year, he exhibited 10 of her drawings, surprising O’Keeffe. When she confronted him, she agreed to let them remain on display. This catalyst began their partnership. Stieglitz went on to organize nearly all of O’Keeffe’s exhibitions, starting with her first solo show, in 1917, at 291, which included her paintings and watercolors from her time in Texas.

Stieglitz and O’Keeffe kept in constant contact over the years, and in 1918, O’Keeffe agreed to move to New York to devote her time to her art. The two began to fall in love and moved in together, even though Stieglitz was already married and 23 years older. In 1924, his divorce was approved and he married O’Keeffe within four months. It was with Stieglitz’s aid that O’Keeffe’s work gained further fame and commanded higher and higher prices.

O’Keeffe’s notable New Mexico phase did not begin until the late 1920s. Before then she had been working in the New York area, but she had felt the increasing need for a new source of inspiration, and traveled to Santa Fe. She took multiple trips into the desert, painting her iconic scenes with vivid colors. In late 1932, she suffered a nervous breakdown partly because she was falling behind schedule on a mural project. O’Keeffe did not paint again until 1934, after recuperating in Bermuda. She returned to New Mexico, leaving Stieglitz to work (he also had an affair with the photographer Dorothy Norman) in New York.

O’Keeffe continued to work exclusively from New Mexico, buying homes there, including an abandoned hacienda in Abiquiu, until 1946, when Stieglitz died. She spent three years settling his affairs in New York before moving permanently to New Mexico. She worked primarily from her Abiquiu house, making its architectural elements subjects of her work.

In 1962, O’Keeffe became a member of the American Academy of Arts and Letters, and four years later she was elected a Fellow of the American Academy of Arts and Sciences. She continued to have exhibitions, and her work remained a prominent force in the public eye. In 1977, President Gerald Ford presented her with the Presidential Medal of Freedom, the highest honor awarded to American citizens, and in 1985, she was awarded the National Medal of Arts.

O’Keeffe became increasingly frail in her late 90s, and her eyesight began to deteriorate. She moved to Santa Fe in 1984, and in 1986, on March 6, she died at the age of 98. O’Keeffe was cremated in accordance with her will, and her ashes were scattered on the winds atop Pedernal Mountain, over what she called her “beloved faraway.”

Georgia O'Keeffe
Red Barn, Lake George, New York, 1921

O'Keeffe's legacy lives on today, her work being her most influential impact on the arts. The museum in Santa Fe devoted to her paintings, drawings and pottery, coincidentally designed by the same architects as the Georgia Museum of Art's renovation and expansion project, celebrates its 15th anniversary this year. In the sciences, a fossilized species of archosaur (an ancient relative of today's crocodiles) was named after her as Effigia okeeffeae (meaning "O'Keeffe's ghost"). Collections of her paintings hang in the Museum of Modern Art in New York, the Whitney Museum of American Art and in the Georgia Museum of Art. If you'd like to have a look at some of O'Keeffe's influential work, especially on her birthday, we would love to see you in the museum!

Happy Birthday, William Merritt Chase!

William Merritt Chase in 1900

Born in 1849 in Nineveh, Ind., Chase was an exponent of Impressionism and is best known for establishing the Chase School, today Parsons The New School for Design. In 1861, Chase’s father moved the family to Indianapolis and employed William as a salesman in his local business. Chase exhibited an interest in art early and studied under such local, self-taught artists as Jacob Cox, a landscape and portrait painter who is known for his paintings of several Indiana governors.

Chase joined the navy for a brief period before his teachers encouraged him to travel to New York to further his artistic training in 1869. He enrolled in the National Academy of Design and studied under Lemuel Wilmarth, who was a student of French artist Jean-Léon Gérôme, considered one of the most important painters in the Academic style. Chase was forced to leave a year later for St. Louis, Mo., to rejoin his family due to financial trouble. While he worked to help support them, he ingrained himself in the St. Louis art community, winning prizes for paintings at local exhibitions. In 1871, Chase exhibited his first painting at the National Academy, which elicited the interest of wealthy St. Louis collectors who ultimately acted as his benefactors, arranging for him to visit Europe for two years in exchange for his paintings and help securing European art for their own collections.

Chase traveled around Europe, first settling in Munich at the Academy of Fine Arts in Germany, then made his way to Venice. He returned to the United States in the summer of 1878, where he subsequently exhibited his new paintings with the newly created Society of American Artists. He also opened a studio in New York and became a member of the Tilers, a group of artists and authors including Winslow Homer and John Twachtman.

In 1886, Chase, now a cosmopolitan and esteemed art teacher, married Alice Gerson, one of his favorite models, and she continued to be his primary model throughout the 30 years of their marriage. They raised eight children, and their eldest daughters, Alice and Dorothy, often modeled for their father as well. During this period, Chase cultivated the lifestyle of a devoted family man, but he became known for his extravagant spending as well, filling his studio with lavish furniture and oriental carpets. By 1895, the cost of maintaining the studio as well as his other residences forced Chase to close it and auction its contents.

In addition to his on-and-off teaching jobs, Chase, on the advice of a patron, opened the Shinnecock Hills Summer School on eastern Long Island, N.Y., in 1891 and taught there until 1902, during which time he adopted the plein-air method of painting and held the majority of his classes outside. In 1896 Chase created his educational magnum opus, the Chase School of Art, which became the New York School of Art two years later. Chase stayed on as a teacher until 1907. Along with Robert Henri, Chase became the most important teacher of 20th century artists, including Georgia O’Keeffe, Marsden Hartley and George Pearse Ennis. 

Chase’s creativity declined in his later years during the onset of modern art, but he kept painting and teaching into the 1910s. He died on Oct. 25, 1916, in New York, and his works carry on his legacy as an esteemed elder of the American art world. His paintings hang in most major U.S. museums, and the Georgia Museum of Art happens to have in its permanent collection one of his paintings of Shinnecock Hills, the location of his home and primary studio, which were added to the National Register of Historic Places. If you would like to have a look at the place that inspired a true visionary, feel free to come on in! 

William Merritt Chase
Shinnecock Hills, ca. 1892

Happy Birthday, Charlie Lucas!

Today we celebrate the birth of Charlie “Tin Man” Lucas, born in 1951, in Autauga County, Ala. Lucas was one of 14 children born to a father who was an auto mechanic and taught his children how to dismantle an engine and put it back together. Lucas’ grandfather was a gunsmith, his grandmother was a weaver and his great-grandfather was a blacksmith—it was almost pre-determined for Lucas to end up working as a sculptor with scrap metal. That much was evident from an early age, when he would make his own toys out of household items and scraps instead of playing with his siblings.

Lucas left home at the age of 14, working and travelling from town to town as a painter to support himself, even making it as far as Florida. Six years on the road passed by before he returned to Autauga County to reunite with his childhood sweetheart Annie Lykes. They married in 1971 and had six children of their own. Lucas continued to work as an artist, painting more often than sculpting, but in 1984 he sustained a serious back injury that kept him bedridden for almost a year. A devout man and poor at the time, Lucas prayed for the inspiration to do something with his work that had never been seen or done.

His prayer was answered, as Lucas returned to metalworking with a newfound fervor and passion that drove him like nothing else. He began constructing his original and unique sculptures from scrap yards and dumps, turning objects that others threw away into incredible works of art. To this day, Lucas incorporates his whimsical and personal vision in his folk art. Even though the junk metal may look crude and ugly, Lucas makes it into something beautiful as his reflection on life—there are ugly and crude moments, but it is up to us, as our own artists, to make it into something amazing. A prime example of this is "Girl with Balloons," which resides in the Georgia Museum of Art’s permanent collection.

"Girl With Balloons"
Charlie Lucas

Lucas maintains many homes, including in Selma, Ala., where he used to collaborate with his neighbor, the late Kathryn Tucker in making this “scrap art”. Additionally, Lucas has written multiple books, including “In the Belly of the Ship,” a collection of stories, and “Tin Man,” an autobiographical work.

If you’d like to have a look at Lucas’ work, then we invite you to come to the GMOA, find the girl with the bike-wheel balloons and celebrate with her today!

Happy Birthday, Lamar Dodd!

Today we celebrate the birth of Lamar Dodd, one of the most important driving forces behind the Georgia Museum of Art, second only to Alfred Herber Holbrook. Born in 1909 in Fairburn, Ga., Dodd was immersed in his artistic training starting at the age of 12, when he enrolled in classes at LaGrange College. He continued his education, studying during a brief stint at Georgia Tech and teaching art in rural Alabama, until he realized he wasn’t going to evolve as artist if he remained in the South. Dodd made the move to New York City, where he took classes at the Art Students League and learned his craft from artists such as Boardman Robinson, a well-known illustrator and political cartoonist. It was also during his time in New York that Dodd was exposed to the nativist art of the 1920s and 1930s, greatly influencing his style.

Lamar Dodd
Self Portrait

Dodd returned to Alabama in 1933 to work in an art supply store while continuing to paint, emphasizing the techniques and styles of local, southern art in his works. Four years later, he was involved in a national movement to incorporate working artists into universities, and he was appointed to the faculty of the University of Georgia, where, within another three years, he merged all teaching of the visual arts into one department, now name the Lamar Dodd School of Art.

It was during the 1940s when Dodd met Holbrook and collaborated with him on the embryonic stages of GMOA. During one of his trips to Athens, Holbrook became acquainted with Dodd and eventually took classes under him, creating some of his own works both in and out of the classroom. While helping establish the museum during the later 1940s and 1950s, Dodd began travelling farther and farther out of Georgia, eventually making it up to Monhegan Island, Maine, where he briefly painted the landscapes that had inspired artists such as Abraham Bogdanove and Robert Henri. Dodd also travelled to Europe to improve upon his work by studying examples from the Old Masters. Furthermore, he served as a cultural emissary for the State Department and journeyed to Asia and the former Soviet Union. The styles he observed during his travels to these places influenced his techniques, evident in his brighter palette from that period.

Dodd was also invited by NASA in 1963 to document parts of the space race in art. This commission began his more scientifically themed phase of painting, which lasted through the late 1970s. He used monochromatic tones in blacks and whites to symbolize the voids of space or lunar glares, occasionally embellishing elements with metallic silvers and golds. Space wasn’t enough for Dodd, and he turned his attention to the human body, painting representations of X-rays and tissue studies to create the Heart series, an artistic manifestation of how he viewed the human heart.

He reverted to painting scenes of the natural world in the 1980s and 1990s, the later years of his life. Dodd died in 1996, months after the Lamar Dodd School of Art had was dedicated to him. His legacy continues in the art school as well as in GMOA, where many of his paintings reside in our permanent collection as his gifts to Holbrook and all who wish to see them. 

Happy Birthday, Ralston Crawford!

Well known for his Precisionist and geometrically abstract style, Crawford was born in Ontario, Canada, in 1906. He moved with his family at the age of 10 to Buffalo, N.Y., and spent time sailing with his father on the Great Lakes. Following his high school graduation, Crawford worked on cargo ships for six months, traveling to the Caribbean and the Pacific. In 1927, Crawford began his artistic education at Otis Art Institute, working at the Walt Disney Studio as an animator for a side job. He returned to the East Coast to study at the Pennsylvania Academy of the Fine Arts and at the Barnes Foundation. It was during his later round of studies that he was influenced in his work by the art of Pablo Picasso and Henri Matisse. In 1934, along with being a member of the Independents, a collective of modernist painters, Crawford had his first one-man art show at the Maryland Institute College of Art.

Crawford went through multiple artistic phases in his life, the most notable being his Precisionist and geometrically abstract phases. His Precisionist work focused on realistic, sharp renderings of industrial areas, such as factories, bridges, and shipyards, all of which incorporated straight edges and clear borders between separate elements. Crawford’s early work in this vein placed him among other Precisionist artists such as Charles Sheeler, whose noteworthy accomplishments include being one of the founders of American modernism and one of the master photographers of the 20th century. The use of straight lines in the majority of Crawford’s work evolved into his geometrically abstract period, in which he would utilize the shape as the focus of his paintings, taking events such as bullfighting in Spain or spaces such as cemeteries in New Orleans and re-forming them into how he envisioned them in a geometric spectrum.

One of the highlights of Crawford’s career was an assignment from Fortune Magazine. He traveled to the Bikini Atoll in 1946 to record a portion of the events during Operation Crossroads, a series of nuclear weapons tests that provided information on atmospheric and underwater detonations of atomic bombs. The test was incredibly high-profile due to the fact that it was the first detonation of any nuclear device since the bombing of Nagasaki on Aug. 9, 1945. Additionally, Crawford worked with photography and experimented with film and printmaking. Crawford died on April 17, 1978, in Houston, Tex., succumbing to cancer. 

The Georgia Museum of Art’s permanent collection includes Crawford’s depiction of the blast generated by the atmospheric bomb, nicknamed Able, from Operation Crossroads. For anyone interested in the artistic aspects of such an almost literally “volatile” period in American history, GMOA invites you to come in and experience the reverberations of what Crawford witnessed years ago.

Ralston Crawford
Test Able
1946

Happy Birthday, James Whistler!

Whistler was born in Lowell, Mass., in 1834, and best known for his influence on artistic theory. Early on, Whistler was immersed in art. At the age of 11, he enrolled in the Imperial Academy of Fine Arts in St. Petersburg, Russia, where he did well, before moving back to London with his relatives in 1847.

Though his mother sent him to Christ Church Hall School with the hope that he would become a minister, Whistler felt that a career in religion was not for him. He applied to the United States Military Academy at West Point, where, though he was accomplished at drawing, his grades were poor and he flouted authority. After being dismissed from the academy, Whistler tried his hand at mapping the East Coast of the United States for military and maritime purposes, but was transferred to another division of the Coast Survey. He lasted only two months there before leaving for France to pursue art as his true calling.

Later in his career, Whistler became a leading proponent of “art for art’s sake,” an idea he shared with his friend and rival Oscar Wilde. He believed that art was not something that should strictly illuminate a moral purpose, but should instead serve as an extension of the artist’s persona and emotions. An example of his philosophy, the painting “Nocturne in Black and Gold: The Falling Rocket,” was criticized heavily by the art critic John Ruskin. Whistler ended up suing Ruskin for libel. The artist won but he was only awarded a farthing (a quarter of a penny). The cost of the case and the debts accrued while building his residence caused Whistler to fall into bankruptcy midway through 1879.

"Nocturne in Black and Gold: The Falling Rocket"
James Whistler

Whistler continued to travel and produce art in Paris, London, and Venice. He went where he was commissioned, and his paintings sold well. He also published a book detailing his artistic ideals that, unfortunately, led to a complete breakdown of his friendship with Wilde. Whistler returned to London in 1896, when his wife was diagnosed with cancer; she died two months later. In the final years of his life, Whistler produced minimalist seascapes and corresponded with some of his old acquaintances. He founded an art school in 1898, but his poor health and infrequent teaching schedule led to its closure three years later. His health continued to decline and he died in 1903 on July 17.

The Georgia Museum of Art has a selection of Whistler’s art that highlights many of the qualities he worked to instill in his paintings. The canvases he produced act as his lasting contributions to artistic conversations and debates even today.  

"Arrangement in Grey and Black No. 1"
James Whistler

Happy Birthday, Salvator Rosa!

        Salvator Rosa was an Italian Baroque painter, poet and printmaker born (June 20) in 1615 best known for being a proto-Romantic. Initially, his father had wanted Rosa to become either a priest of lawyer, and entered him into the convent of the Somaschi Fathers. Rosa, however, felt that art was his calling and began secretly working under the tutelage of his uncle to learn about painting. He then moved on to study under his brother-in-law who was, in fact, a pupil of Jusepe de Ribera, an eminent Spanish Tenebrist painter, before coming under the apprenticeship of either Aneillo Falcone or Ribera himself. It was during his apprenticeship that his father died, leaving the family destitute and Rosa without financial support.

        Rosa earned money by selling his paintings cheaply through private dealers as he moved back and forth between Rome, Naples, and Florence. During this time he began producing the forerunners of Romantic paintings. Picturesque views of mountains and beaches were among his early landscapes for which he became well known. As well as painting, Rosa also wrote multiple satirical plays which gained him both favor and enemies, including Gian Lorenzo Bernini, the sculptor who originally designed the famous Trevi Fountain in Rome.

        Rosa continued to paint and write until his final days, having fallen ill with dropsy, and he died in 1673. His legacy was, most prominently, the beginning stages of romantic painting, evinced by the picturesque works of J.M.W. Turner, who arrived in the art world about a century later. It is almost poetic, in fact, that Rosa should be remembered as one of the fathers of the romantic painting style, as his birthday just so happens to fall on the first day of the summer equinox. If you’d like an up close and personal example of Rosa’s work, especially today, the GMOA happens to have one of his paintings within the Samuel H. Kress Foundation Collection. 

Salvator Rosa--Saint Simon the Apostle

Happy Birthday, Mary Cassatt!

Mary Cassatt (American, 1845-1926), Study for “The Sun Bath,” n.d., Oil on canvas, 15 x 23 inches, Georgia Museum of Art, University of Georgia; Extended loan from the Joan M. MacGillivray 1957 Trust GMOA 2002.115E

Mary Cassatt was born (May 22) in 1844. She was an American painter and printmaker best known for her Impressionist work. At the age of 15 she began studying painting at the Pennsylvania Academy of the Fine Arts despite her father’s objection to her becoming a professional artist. She then moved to Paris in 1866, where she began her study with private art lessons in the Louvre. Here she befriended Edgar Degas. Regarded as the one of the founders of Impressionism, he had significant influence on Cassatt’s etching work. She also became proficient in the use of pastels, and many of her most important works are in this medium.  Her increasingly poor eyesight virtually put an end to her serious painting, and she died in 1926.

Cassatt's popular reputation is based on an extensive series of rigorously drawn and tenderly observed images of the private lives of women with an emphasis on the intimate bonds between mother and child.