Transcript Georgia O*Keeffe 1887-1986

ED 686 History of American Art
Georgia O’Keeffe
American Artist
Presentation by Maribeth Stover
Georgia O’Keeffe
1887-1986
American Artist
Field of Painting
American Modernism Movement
Georgia O’Keeffe
No. 13 Special
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No. 13 Special
1916/1917
Charcoal on paper
24 1/2x19 in.
Early in 1916, Anita Pollitzer
took several of Georgia’s
charcoal drawings to Slieglitz
for him to view. Upon viewing
the works, Stieglitz made the
now well-noted comment,
“Finally a woman on paper!”.
O’Keeffe’s first solo show was
in 1917.
Georgia O’Keeffe
Blue and Green Music
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Blue and Green Music
1921
Oil on canvas
23x19 in.
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In the mid-1920’s,
O’Keeffe began making
large-scale paintings of
natural forms at close
range, as if seen through
a magnifying glass.
Georgia O’Keeffe
Red Canna
• Red Canna
• c. 1924
• Oil on canvas mounted
on masonite
• The abstraction of form
and color in her close
up views of flowers,
she said, was to make
people pay attention.
Georgia O’Keeffe
Pansy
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Pansy
1926
Oil on canvas
26 15/16x12 1/16 in.
• O’Keeffe painted
flowers as they had
never been seen
before
Georgia O’Keeffe
Poppy
• Poppy
• 1927
• Oil on canvas, 30x36 in.
It can be argued that O’Keeffe has made the brilliant
red poppy the most famous single flower in America,
perhaps the most famous flower in the Western world.
O’Keeffe
Cow’s Skull: Red, White, and Blue
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Cow’s Skull: Red, White, and Blue
1931
Oil on canvas
39 7/8x35 7/8 in.
• During the period of time from
1929 and 1949, O’Keeffe would
spend part of nearly every year
working in New Mexico. She
began collecting and painting
bones, as well as the distinctive
landscape of the area.
O’Keeffe
Ram’s Head White Hollyhock and Little Hills
• Ram’s Head White Hollyhock
and Little Hills
• 1935
• Oil on canvas
O’Keeffe’s skulls were extraordinary
objects in and of themselves. She
studied flowers, shells and bones as
nature’s objects of art-and painted them
as her own.
O’Keeffe
Ram’s Skull with Brown Leaves
• Ram’s Skull with Brown Leaves
• 1936
• Oil on canvas, 30x36 in.
O’Keeffe’s reputation and popularity
continued to grow, earning her numerous
commissions. Her work was included in
exhibitions in and around New York.
O’Keeffe
Pelvis with the Distance
• Pelvis with the
Distance
• 1943
• Oil on canvas
• 223 7/8x29 ¾ in.
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O’Keeffe referred
to the vast New
Mexico desert as
“the faraway”
because the thin
and dry air allowed
her to see for miles
and miles.
O’Keeffe
Deer’s Skull With Perdernal
The Pedernal was a
flat-topped messa that
she painted repeatedly,
constantly changing
her perspective and
her palette.
“It is my private
mountain,” she
explained.
O’Keeffe
Red Hills, Grey Sky
• Red Hills, Grey Sky
• 1935
• Oil on canvas,14x20 in.
When American artists of the nineteenth
century claimed independence in their art,
they did so by heroicising the great, newly
explored, wild American landscape. O’Keeffe
painted some her pictures as abstracts.
O’Keeffe
Cebolla Church
• Cebolla Church
• 1945
• Oil on canvas,20x36 1/8 in.
In 1945, O’Keeffe bought a second
home in Abiquiu, New Mexico. The area
near her home became the setting for
many later paintings.
O’Keeffe
Red Hills with White Shell, 1938
Jimson weed, 1936
Georgia O’Keeffe looked at a few objects in nature
with unusually intense concentration: flowers, shells
and animal skeletons among them.
Georgia O’Keeffe
Another Church,
Hernandez, New
Mexico
1935, Oil on canvas
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O’Keefe was a major influence in
American art from the 1920’s.
She received recognition for
contributions as a painter, as well
as challenging the boundaries of
modern American artistic style.
O’Keeffe was inspired by nature
and she often transformed her
subject matter into abstract and
representational images.