Maria Chabot met Georgia O'Keeffe in Northern New Mexico in 1940. O'Keeffe, one of America's most celebrated artists, was fifty-three and had just purchased a house at Ghost Ranch where she had painted over several previous summers. Chabot, a San Antonian and an aspiring but unknown writer, was a robust twenty-six and familiar with the largely Spanish-speaking culture of the region. The two were drawn to each other for different reasons. To be free to paint, O'Keeffe needed capable help to sustain and provision her remote household, and although Chabot needed a place to live where she could pursue her writing with minimum distraction, she was also seeking a mentor. For four summers beginning in 1941, when O'Keeffe was in New Mexico, Chabot lived with the artist at Ghost Ranch, managing her house and guests, and organising the famed camping-painting trips from which came some of O'Keeffe's most distinguished works of the period. In 1946, Chabot agreed to conceive and oversee the reconstruction of a ruined adobe house in Abiquiu, New Mexico, that would become O'Keeffe's permanent home in 1949. During the periods when O'Keeffe was in New York where she lived with her husband, famed ph
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Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
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