When Did Georgia Okeeffe Develop Her Love for Art
"When yous take a flower in your manus and really wait at information technology, it's your world for the moment. I want to give that world to someone else."
i of 6
"I said to myself 'I have things in my head that are not like what anyone has taught me- shadows and ideas so nearly to me - so natural to my way of beingness and thinking that it hasn't occurred to me to put them down.' I decided to start anew, to strip away what I had been taught."
ii of half-dozen
"Information technology is easier for me to paint it than to write about information technology and I would so much rather people would look at information technology than read about it. I see no reason for painting anything that tin be put into any other class besides."
3 of 6
"Color is i of the great things in the world that makes life worth living to me and every bit I accept come up to recollect of painting it is my efforts to create an equivalent with paint color for the globe, life as I see it."
four of 6
"I have but one desire as a painter - that is to paint what I see, as I see information technology, in my own style, without regard for the desires or gustation of the professional dealer or the professional person collector. I attribute what little success I take to this fact. I wouldn't turn out stuff for order, and I couldn't. It would stifle any artistic ability I possess."
5 of six
"Nil is less existent than realism. Details are confusing. It is just past selection, by elimination, past emphasis, that nosotros get at the existent meaning of things."
half dozen of 6
Summary of Georgia O'Keeffe
Georgia O'Keeffe played a pivotal role in the development of American modernism and its relationship to European avante garde movements of the early-20th century. Producing a substantial body of piece of work over 7 decades, she sought to capture the emotion and power of objects through abstracting the natural world. Alfred Stieglitz identified her as the first female American modernist, whose paintings of flowers, barren landscapes, and close-up still lifes accept go a part of the mythology and iconography of the American creative mural.
Accomplishments
- O'Keeffe incorporated the techniques of other artists and was especially influenced by Paul Strand'south use of cropping in his photographs; she was one of the first artists to adapt the method to painting by rendering close-ups of uniquely American objects that were highly detailed yet abstract.
- O'Keeffe did not follow any specific artistic movement, merely like Arthur Pigeon she experimented with abstracting motifs from nature. She worked in series, synthesizing brainchild and realism to produce works that emphasized the primary forms of nature. While some of these works are highly detailed, in others, she stripped away what she considered the inessential to focus on shape and color.
- Through intense observation of nature, experimentation with calibration, and nuanced use of line and color, O'Keeffe's art remained grounded in representation fifty-fifty while pushing at its limits. From the 1940s through the 1960s in particular, O'Keeffe's fine art was outside the mainstream as she was one of the few artists to adhere to representation in a period when others were exploring non-representation or had abased painting altogether.
Biography of Georgia O'Keeffe
Defining the early New York avant-grade with Alfred Stieglitz, and meditations in vast and desolate New United mexican states are some of the sites of O'Keeffe's artistic inspirations and explorations.
Important Art by Georgia O'Keeffe
Progression of Art
1916
Blue #2
Blueish 2 is indicative of O'Keeffe's early monochromatic drawings and watercolors, which evoke the movement of nature through abstract forms. While the curvilinear form in Blueish II is reminiscent of a institute class, O'Keeffe was playing the violin during this flow, and the shape likely captures the curlicue-shaped end of the neck of the violin that would take been in O'Keeffe'due south line of sight as she played. The intense blue color suggests that she may accept been familiar with Wassily Kandinsky'south notion that visual art, like music, should convey emotion through the use of color and line. The intense blueish maybe suggests the sound of the music and the mood it evokes or expresses.
Watercolor on paper - Georgia O'Keeffe Museum
1924
Petunia No. two
Petunia No. two, one of O'Keeffe's commencement large-scale renderings of a bloom, represents the beginning of her exploration of a theme that would mark her career. In this painting, she magnifies the flower's form to emphasize its shape and colour. She stated that "nobody really sees a flower - really - it is so small - we haven't time - and to run across takes time... And so I said to myself - I'll paint what I see - what the flower is to me but I'll paint it big and they will be surprised into taking fourth dimension to look at it." Her flower images often received interpretations that O'Keeffe disagreed with, particularly from feminist critics who saw these paintings as veiled illusions to female person genitalia. For O'Keeffe, at that place was no subconscious symbolism, just the essence of the bloom. In fact, the anatomy of the petunia is incredibly detailed, and O'Keeffe may have been emphasizing the androgyny of the reproductive parts in club to counter the thought that her subject matter was continued to her gender. Though American and European artists had experimented with abstraction for at least a decade, O'Keeffe, like Dove, focused on images from nature and O'Keeffe was the only artist to consistently employ flowers as a motif.
Oil on canvas - Georgia O'Keeffe Museum, Santa Fe
1927
Radiator Building - Nighttime, New York
This painting illustrates O'Keeffe'due south skill in articulating architectural structures as well equally her apply of the highly realistic, even so simplified style of Precisionism. She uses the night backdrop to comprise a play between structure and low-cal, and between the directly lines of the architectural forms and the ethereal smoke, which is reminiscent of the folds of flowers. O'Keeffe'southward portrait of the Radiator Edifice, an Art Deco skyscraper that was completed just iii years prior to the painting, presents an iconic paradigm that captures the changing skyline of New York Urban center that O'Keeffe often institute claustrophobic. She depicts the building from a low vantage point to convey a sense of oppression with the building'south towering presence over the viewer. The painting tin as well be read as a double portrait of Steiglitz and O'Keeffe; Stieglitz is represented by the Scientific American Building, equally indicated by his name in reddish, and O'Keeffe by the Radiator Building. Object portraits of this type, influenced by the poetry of Gertrude Stein, were an of import theme for artists of the Stieglitz Circle.
Oil on canvas - Fisk University, Nashville
1931
Moo-cow'south Skull: Red, White and Blue
O'Keeffe became enamored with creature skulls after visiting New Mexico. Through the precise rendering of the weathered skull'due south surface and sharp edges, O'Keeffe captures the essential nature of the skull while also referencing the transience of life. Isolated on the canvas, divorced from its desert context, O'Keeffe uses the cow'south skull and the carmine, white, and blue groundwork to represent both naturalism and nationalism, or the relationship betwixt the American landscape and national identity. Moreover, the discipline could allude to the Dust Bowl and the Great Depression, thereby making an environmental and economic statement. What is clear is that O'Keeffe has created a memento mori that elevates this relic of the New United mexican states desert to the status of an American icon.
Oil on canvas - The Metropolitan Museum of Fine art, New York
1949
Black Place, Grey and Pinkish
O'Keeffe's landscape paintings are similar to her blossom paintings in that they oftentimes capture the essence of nature every bit the creative person saw it without focusing on the details. In works such as Black Place, Greyness and Pink, O'Keeffe emphasizes the wide open spaces and emptiness of the landscape around her New Mexico ranch that she purchased in 1940 - vistas that are the opposite of her claustrophobic cityscapes. Her paintings of the expanse capture this sense of identify and her attachment to it: "When I got to New United mexican states that was mine. As before long as I saw it that was my state. I'd never seen annihilation like it before, only information technology fitted to me exactly. It'southward something that'south in the air, information technology'due south different. The heaven is different, the wind is dissimilar." The often surprising reds and pinks of the country in these paintings are accurate renderings of the colorful desert scenery.
Oil on sail - Georgia O'Keeffe Museum
1965
Sky higher up Clouds, IV
O'Keeffe's subject matter was always inspired by her life and the series Sky higher up Clouds is no exception, as the painting speaks to her many travels in the 1950s and 1960s. While en route to the Far East, she became intrigued by the view of the clouds beneath the airplane and sought to return this aerial view in paint as if to symbolize her ain expanded view of the world. Remarkably, as she was nearly 80 years old at the fourth dimension, she began stretching enormous canvases, almost 24 feet broad, to capture the expansiveness of the scene. This painting, with its high horizon line and simplified clouds that extend beyond the frame, shows the influence of Eastern mural painting, which also ofttimes employs a high horizon line with a broad view of the state. The work underscores that O'Keeffe'due south art, whatever the motif, remains consistent over many decades: she renders a naturalistic scene or object in such a mode as to focus on its essential formal elements and return information technology abstractly.
The Art Institute of Chicago, Chicago
Like Art
Influences and Connections
Influences on Artist
Influenced by Artist
Useful Resources on Georgia O'Keeffe
Books
websites
articles
video clips
More than
Content compiled and written by The Art Story Contributors
Edited and published past The Art Story Contributors
"Georgia O'Keeffe Artist Overview and Analysis". [Cyberspace]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
Available from:
First published on 05 Dec 2014. Updated and modified regularly
[Accessed ]
Source: https://www.theartstory.org/artist/okeeffe-georgia/
0 Response to "When Did Georgia Okeeffe Develop Her Love for Art"
Post a Comment