Arabella with Calla Lillies

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Arabella with Calla Lillies

United States, 1934
Paintings
Oil on canvas
40 × 30 in. (101.6 × 76.2 cm) Frame (framed): 55 × 39 in. (139.7 × 99.06 cm)
Gift of Margery and Maurice H. Katz (M.91.326)
Not currently on public view

About The Era

The beginning of every century inspires a general sentiment of endless possibilities, and the twentieth century was no exception....
The beginning of every century inspires a general sentiment of endless possibilities, and the twentieth century was no exception. A modern age marked by technological wonders had begun, and the United States was to be its focal point. Lewis Mumford, one of the country’s most brilliant thinkers, explained that, unlike Europe, “the New World expanded the human imagination.” Young American students still traveled to Europe, especially Paris, for their initiation to art, but the progressive new ideas of cubism, futurism, and surrealism that they imbibed only found their true home in the United States.
As demonstrated by the first generation of modernists in the circle of Alfred Stieglitz, American artists rarely abandoned referential ties to the physical world completely. The simplification of form, multiple perspectives, and ideas about the fourth dimension that radical proponents of cubism espoused would find their most compelling American expressions in the fishermen of Marsden Hartley, and the animal bones and skulls of Georgia O’Keeffe. To these artists, abstraction meant the synthesis of personal experience.
The introduction of psychological ideas, first in the form of Sigmund Freud’s discussion of the unconscious and later in the writings and art of the surrealists, found an enthusiastic audience in America. Such new concepts not only expanded ideas about the human mind but also encouraged the liberation of social conduct, in particular, sexual mores. Women increasingly became involved in creative aspects of the new modern age. In 1934 the Los Angeles artists Helen Lundeberg and Lorser Feitelson issued the only surrealist manifesto to appear in the United States, thereby demonstrating that in a relatively short time California had seriously challenged New York as the leader of the brave new world.
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Label

From the exhibition Stanton Macdonald-Wright and His Circle at LACMA January 29-May 28, 2003 ...
From the exhibition Stanton Macdonald-Wright and His Circle at LACMA January 29-May 28, 2003 Mabel Alvarez was already an accomplished painter when she met Macdonald-Wright in 1919; later she became his student. In 1928 she described his influence on her work as opening up “a whole new world.” Alvarez had painted several works by 1934 depicting her friend and frequent model, Arabella, portrayed here. One of these, Morning, won first prize at the 1933 California Art Club annual exhibition. Another, Mood, is very similar in composition, execution, and expression to Arabella with Calla Lillies and helped establish her national reputation. Mood was exhibited in 1934 with works by five other Los Angeles artists in Painting and Sculpture from 16 American Cities at the Museum of Modern Art in New York.
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Bibliography

  • About the Era.
  • Mabel Alvarez, a Retrospective. Los Angeles: Laband Art Gallery, Loyola Marymount University, 1999.
  • Bassett, Glenn.  "Mabel Alvarez: A Personal Memory."  American Art Review XI (2): 185 (April, 1999).