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Title: Georgia O'Keefe and the Calla Lily in American Art, 1860-1940 by Barbara Buhler Lynes, Charles C. Eldredge, James Moore, Georgia O'Keeffe, Georgia O'Keeffe Museum, Albuquerque Museum, Joseph and Margaret Muscarelle Museum of Art ISBN: 0-300-09738-7 Publisher: Yale Univ Pr Pub. Date: 01 October, 2002 Format: Hardcover Volumes: 1 List Price(USD): $35.00 |
Average Customer Rating: 5 (1 review)
Rating: 5
Summary: A botanist's zantedeschia is a gardener's calla
Comment: GEORGIA O'KEEFFE AND THE CALLA LILY IN AMERICAN ART, 1860-1940 has more than 50 calla images by 33 artists and photographers. The driving force behind the exhibition, catalogue and book is Barbara Buhler Lynes, Georgia O'Keeffe Museum curator. In one beautifully illustrated, clearly written and nicely organized source, she traces the plant's history, from the limited written record and through art.
Europeans imported the calla in 1731. The name was already in place, from Pliny, according to botanist Jacques Dalechamps. William Wood said the word meant beautiful in Greek. Carolus von Linnaeus, Swedish plant classifier, accepted the name for his "Species plantarum."
But calla palustris already named a northern water plant. So it became richardia. But that was already a rubiaeceae family member. So it became, and stayed, zantedeschia, after Italian botanist and physician Francesco Zantedeschi.
Art has left a better record than writing. For classifying plants encouraged drawing flowers. Especially after the calla was imported from South Africa into the United States, American artists took to its white blooms, spear-headed leaves and elegant silhouette. It became grown, known and painted coast to coast.
Traditionally, it was painted into women's portraits. As recently as 1951, Mexican artist Diego Rivera put the calla into his portrait of Helen N. Starr. A female bullfighter, Starr faced death many times. The calla was also called the perfect mourning flowers, along with azalea, rose and violets. In fact, it was scattered over President Lincoln's casket and Queen Victoria's deathbed.
It was also seen as symbol, and cause, of death. Some scientists believed them to be dangerously poisonous. But that didn't keep southern Californians from growing them outdoors, year-round, as potato-like tasty good in looks and cooking. It was the same with missionaries who had seen pygmies and elephants eating the corms in the Congo.
With all the hype, how could the calla become other than the best known subject in American art? Marsden Hartley and Georgia O'Keeffe were particularly responsible for, but not alone in, that. Not surprisingly, shortly afterwards the calla also became a favorite with advertisers, designers, film-makers and marriage planners. The book perfectly traces this fascinating surge, from our gardens and into almost all of our arts. It reads especially well with Elizabeth Mankin Kornhauser's MARSDEN HARTLEY.
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Title: Georgia O'Keeffe Museum by Peter Hassrick ISBN: 0810936852 Publisher: Harry N. Abrams Pub. Date: 01 September, 1997 List Price(USD): $35.00 |
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Title: Georgia O'Keeffe : Catalogue Raisonne by Barbara Buhler Lynes, Georgia O'Keeffe ISBN: 0300081766 Publisher: Yale Univ Pr Pub. Date: 01 December, 1999 List Price(USD): $225.00 |
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Title: Georgia O'Keeffe: A Life by Roxana Robinson, Georgia O'Keeffe ISBN: 0874519063 Publisher: University Press of New England Pub. Date: February, 1999 List Price(USD): $22.95 |
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Title: American Expressionism: Art and Social Change, 1920-1950 by Bram Dijkstra ISBN: 0810942313 Publisher: Harry N. Abrams Pub. Date: 01 May, 2003 List Price(USD): $60.00 |
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Title: Kiki Smith: Prints, Books and Things by Kiki Smith, Wendy Weitman, Wendy Weltman ISBN: 0870705830 Publisher: Museum of Modern Art, New York Pub. Date: August, 2003 List Price(USD): $45.00 |
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