Portrait of an Artist: A Biography of Georgia OKeeffe by Laurie LisleGeorgia OKeeffe, one of the most original painters America has ever produced, left behind a remarkable legacy when she died at the age of ninety-eight. Her vivid visual vocabulary--sensuous flowers, bleached bones against red sky and earth--had a stunning, profound, and lasting influence on American art.
OKeeffes personal mystique is as intriguing and enduring as her bold, brilliant canvases. Here is the first full account of her exceptional life-- from her girlhood and early days as a controversial art teacher, to her discovery by the pioneering photographer of the New York avant-garde, Alfred Stieglitz, to her seclusion in the New Mexico desert, where she lived until her death.
And here is the story of a great romance between the extraordinary painter and her much older mentor, lover, and husband, Alfred Stieglitz. Renowned for her fierce independence, iron determination, and unique artistic vision, Georgia OKeeffe is a twentieth-century legend who career spanned the history modern art in America.
Selected Georgia O'Keeffe Paintings
At the beginning of the 20th century, being a teacher was the sole approach a woman could have into the art world in the United States. Stieglitz was a famous photographer, and a renowned advocate for the Modernist movement in the arts. In New York City, Stieglitz owned Gallery , acknowledged for showing the pieces of these painters. Incidentally, she was the first American painter featured at this place. During a great part of her life, she was mentored and influenced by Stieglitz. His attention extended throughout all her career; he organized 22 solo exhibitions and several group installations. She mastered the use of line and composition to create abstract pieces full of simplicity, such as Drawing XIII
All Rights Reserved. Toggle navigation Gegorgia O'Keeffe. Oriental Poppies. Ram's Head with Hollyhock. Abstraction White Rose. Autumn Leaves.
O’Keeffe and Feminism – A Troubled Relationship
Flowers are perhaps about as feminine an artistic symbol as you can get. In the American painter Georgia O'Keeffe's work, the plant's reproductive organs take on a new significance, as Randall Griffin, US art history professor and author of our new Phaidon Focus book on the artist , explains, in a chapter entitled The Question of Gender. This seems quaint in our current age.
The majority of texts on the first several pages of the results will be with similar titles. They put these three words in conjunction with the word vagina, or vulva, as if something that naturally comes together. Can we ascribe her work to this singular interpretation, leaving aside all others, and how did this perspective start to dominate over others, especially if we had in mind that the artist rejected it herself? In the 20th century rife with male artistic geniuses and expressive power of splotched masculinity, as in drip paintings of Jackson Pollock , the femininity became the prerogative of the sensual, delicate, and vulva-like flowers. She was a very passionate and highly intelligent woman, who was primarily interested in beauty, form, and design. After her initial art training at School of the Art Institute of Chicago and the Art Students League of New York, she worked as an illustrator as she was unable to continue her studies due to financial difficulties. In autumn she sent some of her charcoals to a friend in New York, who showed them to a prominent photographer, Alfred Stieglitz.