附註:Includes bibliographical references (pages 253-258) and index.
I. The Fifty-ninth Street Studio -- II. The American Background -- III. Tonalism versus Technocracy -- IV. Adding Muscle to American Art -- V. The Body in the Landscape -- VI. The Landscape in the Body: John Vanderpoel -- VII. The Hazards of Humanism in a Modernist Environment -- VIII. The "Woman Artist" and the Great Transition -- IX. Technocracy versus the Color of Mood -- X. The Masses and the Matter of Mind -- XI. Economics and the Myth of Modernist Martyrdom -- XII. Modernism and the Politics of Gender -- XIII. Lighthouses and Fog: The Watercolors -- XIV. Stieglitz and the American Tradition -- XV. Stieglitz's Dreams of Femininity and Materialism -- XVI. The Boy in the Dark Room: The Fifty-ninth Street Studio Once More -- XVII. The Revenge of the Rhetoricians of Gender -- XVIII. No Ideas but in Things: The First Postmodernist Era in American Art -- XIX. Barns and Apples -- XX. Flowers and the Politics of Gender -- XXI. O'Keeffe and New York City -- XXII. An American Place? -- XXIII. Forms beyond Time.
摘要:Georgia O'Keeffe has long been recognized as one of America's most adventurous early modernist artists. But critics often suggest that she became a revolutionary despite her American background, not because of it. Bram Dijkstra challenges that point of view. In this searching reappraisal of O'Keeffe's work, the distinguished cultural historian shows that her art was decisively shaped by the America in which she grew up. In doing so, he casts new light on the facts of O'Keeffe's remarkable life and offers incisive new readings of many of her most important paintings.
