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Georgia O'Keeffe
- 1. Georgia O’Keeffe Rediscovering the Light Bonnie Brown Final Presentation American Moderns Jimson Weed 2/Georgia O’Keeffe/1936
- 2. Georgia O’Keeffe is famous for her abstract and seemingly personal paintings but the personality she paints into her work isn’t directly associated with her femininity as many critiqued, but instead the events in her life like her relationship and break up with Alfred Stieglitz and consistently changing surroundings influence and manifest in her work, making her biography an important aspect of her art making.
- 4. Letter from Alfred Stieglitz to Georgia O’Keeffe October 1922 No. 13 Special Georgia O'Keeffe 1916/1917 Charcoal on paper
- 5. My Faraway One Book Cover Author Sarah Greenough
- 6. Georgia O’Keeffe Alfred Stieglitz 1918 Georgia O’Keeffe Alfred Stieglitz 1918
- 7. Black Iris Georgia O’Keeffe 1925 Slightly Open Clam Shell Georgia O’Keeffe 1926 pastel on artistboard
- 8. Train at Night in the Desert Georgia O’Keeffe 1916 watercolor Fall Leaves Georgia O’Keeffe 1924
- 9. Lake George with Crows Georgia O’Keeffe 1921 oil on canvas Lake George Barns Georgia O'Keeffe 1926 oil on canvas
- 10. New York with Moon Georgia O’Keeffe 1925 oil on canvas
- 11. “The pulsing celestial orb and throbbing land forms took their inspiration not from Lake George nor Manhattan but from O’Keeffe’s Texas years.” -Eldredge The Red Hills with Sun Georgia O’Keeffe 1927 oil on canvas
- 12. Grey Tree Georgia O’Keeffe 1925 "I wish people were all trees and I think I could enjoy them then.” --Georgia O'Keeffe. Cottonwoods near Abiquiu Georgia O’Keeffe 1942
- 13. Georgia O’Keeffe: A Portrait—Hands and Bones Alfred Stieglitz 1930 “These photographs are simultaneously erotic and self mocking. O’Keeffe’s hands make intimate contact with the skull, but it is only lifeless bone.” -Wienburg
- 14. Cow's Skull: Red, White, and Blue Georgia O'Keeffe 1931 oil on canvas “It therefore celebrates the discovery of the southwest as the next great theme of her art.” -Weinburg
- 15. “New Mexico proved to be a source of seemingly endless inspiration for O’Keeffe….Working with often richly saturated colors and simplified natural forms, she strove to translate the ecstatic feelings she had when she contemplated the landscape that affected her, she told Stieglitz, like music, because ‘it moved and changed constantly.’” -from My Faraway One Blue and Green Music Georgia O’Keeffe 1919-1921
- 16. Ram's Head White Hollyhock Georgia O’Keeffe 1935 From the Faraway, Nearby Georgia O’Keeffe 1937
- 17. “She wears too much white; she is impaled with a white consciousness. It is not without significance that she wishes to paint red in white and still have it look like red.” -Marsden Hartley American Indian Symbols Marsden Hartley 1914 oil on canvas
- 19. Entrance to Georgia O’Keeffe Ranch 1960
- 20. Bibliography Primary Sources 1. Greenough, Sarah. My Faraway One: Selected Letters of Georiga O'Keefe and Alfred Stieglitz. New Haven, CT: Yale University, 2011. 2. Hartley, Marsden. Adventures in the Arts. New York, NY: Boni & Liveright, 1921. 3. Fisher, Willian and Stieglitz, Alfred. "The Georgia O'Keeffe Drawings and Paintings at '291'." Camera Work, June 1917. Secondary Sources 1. Balken, Debra. Dove/O'Keefe. New Haven, CT: Yale University, 2009. 2. Dickerman, Leah. Inventing Abstraction 1910-1925. New York, NY: The Museum of Modern Art, 2012. 3. Dilworth, Leah. Imagining Indians in the Southwest : persistent visions of a primitive past . Washington, DC: Smithsonian Institution Press, 1996. 4. Eldredge, Charles. Georgia O'Keeffe. New Haven, CT: Yale Publishing Company, 1993. 5. Lynes, Barbara. O'Keefe, Stieglitz, and the Critics 1916-1929. Ann Arbor, MI: UMI Research Press, 1989. 6. Pyne, Kathleen. Modernism and the Feminine Voice: O'Keefe and the Women of the Stieglitz Circle. Los Angeles, CA: University of California Press, 2008. 7. Weinberg, Jonathan. Ambition & Love in Modern American Art. New Haven, CT: Yale University, 2001. 8. Wagner, Anne. Three Artists (Three Women). Los Angeles, CA: University of California Press, 1996.
Notas do Editor
- Stieglitz, NYC, March, 31, 1917 “How is the Little Girl this morning?”“Less prone to hyperbole, more pragmatic and down to earth, O’Keeffe did not use such terms nor did she share this grandiose understanding of herself.”
- “She also grew steadily more disturbed by Stieglitz’s belief that her art was fundamentally an expression of her gender. In the early 1920s she was not only stunned by the overtly sexual interpretations of her art that appeared in the press but troubled to realize that Stieglitz fostered them. She came to see that his nude photographs of her, which he had exhibited in 1921 before he showed her work in 1923, added fuel to the Freudian fire.”
- “New Mexico proved to be a source of seemingly endless inspiration for O’Keeffe. Its trees, crosses, and churches; its brilliant blue sky; and especially the land itself, with its lustrous red earth, arroyos, mesas and rugged mountains—all became the subjects of her frequently luminous, occasionally playful paintings. Working with often richly saturated colors and simplified natural forms, she strove to translate the ecstatic feelings she had when she contemplated the landscape that affected her, she told Stieglitz, like music, because “it moved and changed constantly.” As she “hunted for something of myself out there,” she sought “something in myself that will give me a symbol for all this—a symbol for the sense of life I get out there.” Noting that O’Keeffe was once again “the wild child of the soil,” Stieglitz recognized that he was still very much “of the city” and he found in New York the same inspiration that O’Keeffe discovered in New Mexico.”
- December 1933 at Lake George “Despite the snow, bitter cold, frozen pipes, and slippery driving conditions, O’Keeffe remained at Lake George. She was still not ready for the pace of the city and recognized that she seemed “to thrive on these winter difficulties and surprises.”
- Leah Dilworth “Imagining Indians”“Modernist primitivism was never about practicing Native American belief systems. It was, rather, about an aesthetic practice that would lead to spiritual experience.”