Santa Fe Art Colony, 1900-1942 by Sharyn Rohlfsen Udall

'It just takes hours for me to do what an organized housewife does in one,' she complained.Gina's affluent upbringing and the ease of finding servants in Santa Fe had accustomed her to hours of time spent as she chose.

Dishwashing, making beds, dusting, laundry all the things middle class women took for granted in the 1940s these were frustrating and time-consuming. Returning home, she faced the new tasks of managing the household without help. They rose early, she prepared his breakfast and packed his lunch, then drove him to work in the pre-dawn rushing traffic. Her story gives new insight into American art and life at mid-century.Gina modified her schedule to suit the demand of her husband's. Inside Looking Out reflects too the recent recognition in art history that art is as much a product of culture as it is the elusive, privileged activity of the isolated 'genius.' Knee's efforts to find the delicate balance between marriage and her life's work is a central theme of the book, traced in her letters and conversations with friends. Yet, like many artists especially women working on the fringes of mainstream art movements, her achievements have been nearly forgotten in the rush to create art superstars.This book is an in-depth examination of the artist's life and work, from hesitant artistic beginnings to a culmination in highly original paintings reflecting her modernist and abstract vision. She knew and exhibited with some of the major artists of her day: Jackson Pollock, Willem de Kooning, Mark Tobey, and her third husband Alexander Brook. Starting in the 1940s she was given solo shows on both coasts, and her work found its way into major public and private collections. American painter Gina Knee (1898-1982) is an important, virtually unacclaimed artist, whose career stretched over five decades and many locations: she worked in the Southwest, the South, California, and New York.

Santa Fe Art Colony, 1900-1942 by Sharyn Rohlfsen Udall