Reviewed by:

• Georgia O'Keeffe's Wartime Texas Letters by Amy Von Lintel
• Linda M. Grasso

At two different times in the 1910s, when Georgia O'Keeffe was in her twenties, she taught in Amarillo and Canyon, Texas, before becoming a professional artist. The personal and artistic importance of O'Keeffe's time in the Texas Panhandle was first explored by art historian Sharyn R. Udall in a 1988 exhibition and accompanying catalogue, O'Keeffe and Texas (Abrams). In Georgia O'Keeffe's Wartime Texas Letters, Amy Von Lintel once again brings attention to O'Keeffe's Texas years by assembling, editing, and contextualizing a well-curated sampling over more than two hundred letters that O'Keeffe wrote during her time there. Von Lintel's focus on the effects of World War I on O'Keeffe's sensibility is the book's most distinctive feature.

Von Lintel's book is an intense immersion in a brief yet formative period in O'Keeffe's life and career, and it reveals how O'Keeffe used letters to sustain relationships, rehearse ideas, make meaning of emotions, chronicle experiences, and create shifting identities. As Von Lintel astutely observes, O'Keeffe was a "verbal creator" who painted "with words as well as with brushes" (2). This artistry, accompanied by nineteen beautifully reproduced color illustrations of O'Keeffe's Texas paintings, as well as the relevant work of other artists and artifacts, is on full display in this collection.

Unlike Sarah Greenough's massive tome, My Faraway One (Yale University Press, 2011), which contains correspondence between O'Keeffe and photographer Alfred Stieglitz spanning three decades, Von Lintel's volume features only the letters O'Keeffe wrote while she was in Texas from August 1916 to June 1918. This editorial decision privileges O'Keeffe's syntax, consciousness, and poetic talent and highlights the significance of the region on O'Keeffe's imagination. Italicizing references to the war, identifying O'Keeffe's neighbors, colleagues, suitors, and friends, and providing international and national context about modernism, war, and local practices, the book transports readers into the era and enables us to hear O'Keeffe's voice, which is at times exuberant, angry, reflective, vulnerable, and sardonic.

As interpreter and guide, Von Lintel's framing introductory chapter offers new ways to think about O'Keeffe's Texas paintings, linking them, for example, to European modernism and interpreting their images, color, and content through the lens of wartime referents. She also provides concise, insightful summaries of the letters in the conclusion of each of the book's six chapters. However, while Von Lintel helpfully parses O'Keeffe's ambivalent responses to the Great War, noting how she vacillates among a number of reactions, including skepticism, criticism, and despair, the author [End Page 356] misses opportunities to examine O'Keeffe's racial attitudes with the same depth, especially as they were expressed in the American West. For instance, Von Lintel suggests that O'Keeffe's use of the phrase "war path" is evidence that "the war gave her new metaphors for productivity" (9). But surely this idiom, as well as O'Keeffe's employment of the metaphor of scalping to express impatient anger (57, 126), references not World War I but rather the U.S. conquest of Indigenous peoples, which O'Keeffe knew well from boys' stories about the Wild West that were part of her upbringing. And while including only O'Keeffe's letters enables a narrative charged with adventure, romance, risk, and passion, the one-sided correspondence also, ironically, severs O'Keeffe from context by eliminating consideration of how her responses may have been influenced by the people with whom she was corresponding. Most of the letters Von Lintel includes, for example, are to Stieglitz, who subsequently became O'Keeffe's husband and life-long artistic champion. Nevertheless, Georgia O'Keeffe's Wartime Texas Letters is a welcome addition to studies that historicize the artist and make O'Keeffe's letters readily available.

审核人：

• 乔治亚·奥基夫（Georgia O'Keeffe）的战时德克萨斯信（Amy Von Lintel）
• 琳达·格拉索（Linda M.Grasso）

在1910年代的两个不同时期，佐治亚·奥基夫（Georgia O'Keeffe）二十多岁，在成为专业艺术家之前，她曾在德克萨斯州的阿马里洛（Amarillo）和峡谷（Canyon）任教。奥基夫（O'Keeffe）在得克萨斯州潘汉德尔（Texas Panhandle）的时间对个人和艺术的重要性首先是由艺术史学家Sharyn R. Udall在1988年的展览中及其相关目录《奥基夫（O'Keeffe）和德克萨斯州（Abrams）》中探讨的。在佐治亚·奥基夫（Georgia O'Keeffe）的《战时得克萨斯州信件》中，艾米·冯·林特尔（Amy Von Lintel）再次对奥基夫（O'Keeffe）在得克萨斯州的岁月进行了整理，编辑和情境化整理，重新整理了奥基夫在其任职期间撰写的两百多封信件的样本。冯·林特尔（Von Lintel）专注于第一次世界大战对奥基夫（O'Keeffe）情感的影响，是该书最鲜明的特色。

冯·林特尔（Von Lintel）的书沉迷于奥基夫（O'Keeffe）的生活和事业的短暂但形成性时期，它揭示了奥基夫（O'Keeffe）如何使用信件来维持人际关系，排练想法，表达情感含义，编年史，并创造变化的身份。冯·林特尔（Von Lintel）敏锐地观察到，奥基夫（O'Keeffe）是一个“语言创造者”，他用“单词和画笔”绘画（2）。这个艺术作品，连同十九幅精美复制的O'Keeffe得克萨斯州绘画的彩色插图，以及其他艺术家和人工制品的相关作品，已在此系列中充分展示。

与莎拉·格林诺（Sarah Greenough）的巨著《我的遥远的书》（耶鲁大学出版社，2011年）不同，后者包含了奥基夫和摄影师阿尔弗雷德·斯蒂格里茨（Alfred Stieglitz）跨越三十年的往来书，冯·林特尔（Von Lintel）的卷中只有奥基夫（O'Keeffe）从八月起在德克萨斯州时写的字母。 1916年至1918年6月。这项社论决定赋予了O'Keeffe丰富的语法，意识和诗意才华，并突显了该地区对O'Keeffe想象力的意义。该书将对战争的引用用斜体显示，确定了奥基夫的邻居，同事，追随者和朋友，并提供了有关现代主义，战争和当地习俗的国际和国家背景，这本书将读者带入了这个时代，并使我们能够听到奥基夫的声音有时充满生气，生气，

作为解释者和指南，冯·林特尔的取景入门章节提供了新的方式来思考奥基夫的德克萨斯画作，例如将它们与欧洲现代主义联系起来，并通过战时对象的视角来解释其图像，色彩和内容。在本书的六章中的每一章的结尾，她还提供了简明而有见地的信件摘要。但是，虽然冯·林特尔（Von Lintel）有助于分析奥基夫（O'Keeffe）对一次大战的矛盾态度，并指出她是如何在许多反应中摇摆不定的，包括怀疑，批评和绝望，但作者[End Page 356]错过了以同样的深度研究奥基夫的种族态度的机会，尤其是在美国西部所表达的态度。例如，冯·林特尔（Von Lintel）暗示，奥基夫（O'Keeffe）所用的“战争之路”一词是“战争为她的生产力带来了新的隐喻”的证据（9）。但是可以肯定的是，这个习语，以及奥基夫（O'Keeffe）使用剥头皮的比喻来表达不耐烦的愤怒（57，126），不是指第一次世界大战，而是美国对土著人民的征服，奥基夫从男孩身上就知道这一点。她成长过程中有关荒野西部的故事。尽管只包含奥基夫的信件，却使叙事充满冒险，浪漫，冒险和激情，但具有讽刺意味的是，单面信件也切断了奥' Keeffe从上下文中消除了对她的反应可能会受到与其所对应的人的影响的考虑。例如，冯·林特尔（Von Lintel）所写的大多数信件都写给了斯蒂格利茨（Stieglitz），后者后来成为奥基夫（O'Keeffe）的丈夫和终身艺术冠军。尽管如此，佐治亚·奥基夫（Georgia O'Keeffe）的《战时德克萨斯信》（Wartime Texas Letters）是对艺术家的历史化研究并使奥基夫（O'Keeffe）的信容易获得的研究的新增内容。