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Dorothy Hood (August 27, 1919 - October 28, 2000) was an American painter in the Modernist tradition. Her work is held in private collections and at several museums, most notably the Museum of Modern Art and Museum of Fine Arts, Houston. Her preferred mediums were oil paint and ink.

Early life
Hood was born in Bryan, Texas and raised in Houston. She was an only child. Hood was of German and Swedish descent, and experienced a strict, Episcopalian upbringing. Her father was a banker who often traveled out of town on business. Hood's mother encouraged Dorothy to pursue her artistic talents, but Dorothy was raised mainly by household servants due to her mother's mental illness that resulted in long sanitarium stays. Hood would visit her mother at the sanitarium on school breaks. Hood's mother held Victorian ideals of womanhood, yet had an unconventional side which lead Hood to wonder about which side was her true mother. As a child, she experienced a lingering feeling of isolation. During the time in which she grew up, children were expected to remain out of the way of adults; without siblings, Hood was often left on her own. Hood would often spend her vacations at vacation spas, an activity usually reserved for adults. Her parent's subsequent divorce led Hood to take "refuge in drawing."

Education and early career
In high school, an art teacher submitted her work to a competition and she won a National Scholastic Scholarship. Hood went to the Rhode Island School of Design on this four-year scholarship in the early 1930s. Afterwards, she took classes at the Art Students League of New York, and earned money working as a model. Hood's time as a model influenced her to enjoy wearing fanciful clothing and to herself with poise, which she was later known for. Hood did not feel that her formal education was sufficient for her development as an artist other than providing her with an introduction to great art and other students.

Hood went to Mexico on what was intended to be a short vacation. Hood immediately fell in love with the country and its intellectual climate and aesthetic. Instead, Hood spent twenty years in Mexico (1941-1961). While in Mexico, Hood befriended many European and Mexican artists and intellectuals. They adopted her into their circle, and Hood, for the first time, developed the types of friendships she longed for as a child. During this time, she was part of a group of intellectuals who were interested in critiquing the world around them. Her friends and acquaintances at the time included novelist Ramon Sender, playwright Sophie Treadwell, and painters Remedios Varo and Leonora Carrington. She was considered to be good friends with Carrington. She also associated with writer, Luis Buñuel and artists Miguel Covarrubias, Rufino Tamayo, Diego Rivera and Frida Kahlo. It was in Mexico that Hood began her career as an artist. Hood lived in meager conditions in Mexico, and her works were small in size, due in part to her small studio space. Hood experimented with anti-war drawings during the Spanish Civil War. Mayan and Aztec hieroglyphs were central to Hood's art in her early career. In Mexico, Hood was met with more respect as a woman artist. Her drawings were sought after in Mexico.

Hood exhibited in 1941 at the Gama Gallery in Mexico City, which was commemorated in a poem written by Pablo Neruda, who introduced Hood to the artist and her ultimate mentor, Juan Orozco. This exhibition reflected the influence Mexico had on her art and featured oil and gouache paintings of animals, children, and portraits. Hood returned to New York for a year's study in 1945. This trip also provided Hood with the opportunity to visit with some of her Mexican friends who had more knowledgable cultural backgrounds than she did. While in New York, Hood was gifted a copy of After Picasso, a book by James Thrall Soby,an author, critic, and patron, by a Texan neighbor of Soby's. John McAndrews, the curator of architecture at the Museum of Modern Art and a friend of Hood's, showed one of Hood's drawings to Soby. Soby displayed Hood's drawing in his office, and included it in a traveling exhibition. In 1950, Hood was awarded a solo show at the Willard Gallery in New York. Hoping to break into the New York art world, Hood rented a room near the Columbia University campus, where she invited curators and gallery owners to view her art. Marian Willard visited Hood's showroom on the last day and was impressed with Hood's art, winning Hood the solo show at the Willard Gallery. Willard proved to be an invaluable connection for Hood. Willard introduced Hood to Mark Tobey, a painter, collector, and patron who Hood admired. Tobey invited Hood to show at the Ahrensberg Atelier, of which he was the director. There she met European artists and art dealers.

Marriage
Hood was married to Bolivian composer, José María Velasco Maidana in 1946. They traveled together following Maidana's conducting jobs between Mexico City, New York and Houston until the early 1960s. Maidana deeply enriched Hood's knowledge of Native and Latin American cultures through travel. Around that time her husband began to show symptoms of Parkinson's disease and could no longer conduct. They chose to move to Houston where they would have access to better medical care. Houston also provided Hood with an art market better suited to earning a living. Hood supported herself and her husband until his death in 1989. After Maidana's death, Hood missed her husband, and took to painting "the void" with fervor.

Career
Hood was considered a "pioneer modernist." Her work was a historical link between Mexican synthetic surrealism and the American Color Field School. Hood was one of the first abstract surrealists. Her paintings, which often refer to natural events, are noted by their large color areas. Hood's art also references her Texan roots with expansive imagery and sweeps of color indicative of the South West. Hood was influenced by mythology, science and spirituality. Hoods work was particularly inspired by Taoism and the Yogi of Sri Aurobinda. She was also influenced by space exploration and outer space, which is reflected in her later works. She has cited the influence of Max Ernst on her work. Gorky, Brancusi, Ensor, Matisse, and Rendon, along with studies of science, nature, myths, and spirituality have all been referenced by Hood as influences. Travel also influenced Hood's work, as she traveled between Latin America, New York, Europe, Africa, and Houston throughout her life.

Her first exhibition took place in Mexico City at the Gama Gallery in 1941. Her work consisted of realist portraits and depiction of animals. Hood had a one-person show at the Marian Williard Gallery in New York City. One of her drawings featured in an exhibit at the Museum of Modern Art in 1945. Throughout the 1950s, Hood's art evolved from its realist and surrealist roots into modern, abstract patterns of color. Her style was called "abstract surrealism." In 1957, Art in America named her one of the year's new talents. Hood had a solo show at the Duveen-Graham Gallery in New York in 1958, and showed at the Philadelphia Art Alliance that same year.

By 1961, many of her friends had either passed away or moved, and Mexico no longer felt the same for Hood. Upon her return to Houston that year, Hood showed at the Atelier Chapman Kelley in Dallas. Starting in 1961, Hood taught at the School of Art of the Museum of Fine Arts, Houston. She mentored painter, Ibsen Espada, who worked in her studio as a personal assistant. Hood focused her teaching efforts on meeting the needs of her students, something she felt was lacking from her formal art education. One year after her return to Houston, she began to show her work in the Meredith Long Gallery. Hood also taught at the Museum of Fine Arts until 1976. In 1976, Hood taught at Colorado State University.

The 1970s saw Hood's career take off. In 1970, an exhibition of her work was held at the Contemporary Arts Museum in Houston, Texas. Rice University featured Hood's work in a 1971 exhibition. She had five one-person shows in major Texas museums by 1971 and Hood won the Childe Hassam Award in 1973. The following year, a retrospective of her work traveled the United States, which exposed her work to a greater audience of collectors and clients. This 1974 exhibition was arranged by the Everson Museum in Syracuse, New York. In 1975, Hood was tasked with creating the sets for "Allen's Landing" for the bicentenial celebration of the Houston Ballet. That same year, Hood showed at the Houston Art Museum of South Texas in Corpus Christie. In 1976, the Royal Ontario Museum in Toronto commissioned Hood to create the sets for their showing of "Royal Hunt of the Sun". A Toronto gallery, The Marianne Friedland Gallery, showed Hood's work at the time she was commissioned by the Royal Ontario Museum. That same year, Hood's work was exhibited at the Kunsthalle in Dusseldorf. In 1978, the McNay Art Museum in San Antonio held a showing of Hood's work. Hood wrote a piece for Art Journal in 1980. The piece, titled Sighting the Invisible Frontiers, focused on the concept of the void. Hood also expressed that she felt that narrative paintings, in their adherence to time frames, miss the essence of the subject. In the same piece, she praised Mark Rothko and Georgia O'Keeffe amongst others as they "bravely crossed invisible frontiers that have seldom been spoken of among formalists." Hood praised O'Keeffe in particular for including the void and nature together in her works. In 1982, she was included in a documentary about women artists called From the Heart. In 1983, Hood's work was exhibited in the Kunstverein in Salzburg. In 1985, an award-winning documentary about her work, The Color of Life, was produced by Carolyn Farb, who was a longtime friend and supporter of Hood. That same year, Hood's work traveled to Kenya where it was shown at the UN Focus International Exhibition. Hood's work was highlighted at the National Museum of Women in the Arts in Washington, DC, and at the Laguna Gloria Art Museum in Austin in 1989. In 1990, Hood was awarded an honorary doctorate from the Rhode Island School of Design.

Paintings
Hood's mature technique consists of poured paint in contrast with sharp, geometric figures. These mature paintings had a mythical aura, and foreshadowed later concerns about abstract art. The combination of automatic painting and pouring lent to Hood's unique aesthetic. Signatures of Hood's work are color, texture, form, line, and scale. Brushstrokes are rarely evident in Hood's paintings, rather, the movement of paint created the images. Her sense of color evolved over time. She started with a limited palette and later began to experiment with vivid juxtapositions of color. Hood was a traveler, both physically and spiritually. As a result, her art included mysterious and sweeping gestures. These reference natural phenomena. Hood was drawn to a sense of place and the people who live in that place which help inform her choice of colors and imagery. She called her work "landscapes of my psyche." It was important to Hood that her art make viewers "feel what she felt." Hood's paintings evoke a "psychic void of space" and her later work, notably after the death of her husband, was focused on the void. In the 1960s Hood's paintings became larger and more vibrant, qualities which were heightened in the 1970s. In Houston, Hood's studio was larger than her studio in Mexico which allowed her to create larger works. In the 1980s, her work was notably inspired by 2001: A Space Odyssey and space travel. The void became increasingly important to Hood, and works such as Centrifugal Orbit included black voids in contrast to white.

Drawings
Hood was also known for her drawings. Her drawings were thought to, "reflect profound intimacy of [Hood's] spiritual and emotional growth over 30 years." Linear elements and organic symbols were employed in Hood's drawings to create multidimensional space. From 1941 to 1948, Hood's drawings mostly featured self portraits with an imaginative element, her family, children, and animals. Some depicted unhappy and impoverished children in Mexico. Hood was empathetic towards lonely youth as she identified with them after her own lonely upbringing. Neither her parents, nor her training at the Rhode Island School of Design had any long-term influence on her drawings. The influence of both Jose Orozco and Edvard Munch can be seen in the linear figure groupings of her drawings from this period. Mexico and surrealism were also major influences on Hood's drawings. From 1949 to 1960, Hood's drawings included more nature, depicting plants and animals, and became increasingly abstract with complex spatial arrangements. These drawings were less Western and referenced ancient and spiritual native american traditions.

Collages
Hood created collages in addition to paintings and drawings. She began collaging in 1983, 40 years into her art career. Much like Hood's drawings featured a multidimensional spatial framework, Hood's collages employed unique depictions of space and dimensions. Hood's collages focus on the space age and cybernetics, which Hood felt left a vast field of information with no room for humans. Through harmony, and Christianity and Hinduism, Hood sought to remedy humans with cybernetics. Using stationary, book and magazine illustrations, her paintings, maps, wrapping paper, and newspaper, Hood explored the mind and human psyche by delineating reality and illusion in her collages.

Legacy
In 2015, Texas A&M curated an exhibit intended to be the first in-depth overview of Hood's art and life. The exhibit includes 65 paintings, and 35 drawings and collages. Susie Kalil, an art historian focused on modern Texan art, is writing the first book on Hood.

Hood created a collection of collages, such as those shown at the "Dorothy Hood Collages: Connecting Change" exhibition at the Wallace Wentworth Gallery in 1988. She received a Lifetime Achievement Award from Women's Caucus for Art in 1988.

Hood became one of Texas' most famous artists, notable as Texas had been known prior for paintings depicting prairies and cowboys.

Later years and death
In the late 1990s Hood discovered that she had breast cancer and died in October 2000. Much of her art and ephemera was given to the Art Museum of South Texas in 2000. Many of her papers, including eight scrapbooks and numerous documents of her career, are also on microfilm at the Archives of American Art at the Smithsonian Institution. Many correspondences have been discovered in her belongings, including letters exchanged with Meredith Long who discovered Hood in Mexico, and Clement Greenberg. An artist file documenting her career is held at the Smithsonian American Art Museum / National Portrait Gallery Library of the Smithsonian Libraries.