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Georgia O'Keeffe
조지아 오키프
( American ㅣ1887–1986ㅣaged 98)
Movement: American modernism
Education: School of the Art Institute of Chicago
Columbia University/ University of Virginia
Art Students League of New York
● Quotes
I feel there is something unexplored
about woman that only a woman can explore.
I hate flowers- I paint them because they're
cheaper than models and they don't move. ^^;;
When you take a flower in your hand and
really look at it, it's your world for the moment.
I want to give that world to someone else.
Most people in the city rush around so,
they have no time to look at a flower. I want
them to see it whether they want to or not.
I know now that most people are so
closely concerned with themselves that
they are not aware of their own individuality,
I can see myself, and it has helped me
to say what I want to say in paint.
I found I could say things
with color and shapes that I couldn't say
any other way - things I had no words for.
<Pink Dish and Green Leaves, 1928>
Pastel on paper, 55.9 x 71.1 cm
● Video
● Related Auction Results
<JIMSON WEED/WHITE FLOWER NO. 1 /1932>
oil on canvas, 121.9 by 101.6 cm
▷Sotheby`s NewYork 2014
Est. 10,000,000-15,000,000 USD
Lot Sold. 44,405,000 USD
The beauty of the blossom first attracted
her when she discovered a group of them
near her home in New Mexico, where
these poisonous flowers grew in abundance.
Indeed, the artist came to consider color
as essential to form, once explaining that
she visualized shapes in her mind that
she could not translate onto canvas or paper
until she could identify the appropriate
colors with which to portray them.
“I work with an idea for a long time,
It’s like getting acquainted with a person,
and I don’t get acquainted easily…
Sometimes I start in a very realistic fashion,
and as I go on from one painting
to another of the same thing, it becomes
simplified till it can be nothing but abstract”
Jimson Weed/White Flower No. 1 represents
one of the rare instances during
the first few decades of O’Keeffe’s career
that she selected a canvas size
noticeably larger than her standard format.
Enlarged and reconstructed in oil on canvas
or pastel on paper, it is a vehicle
for pure expression rather than
an example of botanical illustration.
O’Keeffe transforms this traditional
still-life subject into a meditative experience.
< Two Petunias 1924>
pencil on paper, 12.7 x 19.1 cm.▷Christie`s NewYork 2016
Est. 50,000 - 70,000 USD
ALFRED STIEGLITZ
<Georgia O'Keeffe 1919>
Platinum palladium print
(백금-팔라듐 인화) 24.1 x 19.4 cm
Est. $300,000 - 500,000
Sold For $302,500
The fabled union of Alfred Stieglitz and
Georgia O’Keeffe was one of the great
artistic partnerships in American history.
When they met in 1916, Stieglitz was 52 and
already a man of many accomplishments:
photographer, publisher, gallery director,
champion of American Modernism and
world famous promoter of photography
as fine art. On the other hand,
O’Keeffe was an unknown artist,
teaching in Texas and only 28 years old.
This portrait was taken in the first years of
their infamous romance. It is a performance
piece staged by the photographer
and acted out by his willing muse.
In 1917, after mounting his second exhibition
of O’Keeffe’s art, Stieglitz closed
his gallery, 291, and mailed the
final issue of his legendary art journal
Camera Work to its 37 remaining subscribers.
He then proceeded to undergo a
complete rebirth of both his art and his life.
The agent of this change was his
passionate collaboration with O’Keeffe.
"O’Keeffe is a constant source of
wonder to me - like Nature itself –
all fine humans – there are some.
And every moment I am full of
gratefulness that I am a great fortunate.
O’Keeffe & I are One in a real sense...
Every moment is a happy eternity –
sometimes – rarely – the moment is
of intensest pain – but even that
turns into a great glory. We are both
either intensely sane or mad children :).
It makes no difference."
-Alfred Stieglitz
-----
Oil on canvas , 122.2 × 75.6 cm
The Georgia O'Keeffe Museum
The Georgia O'Keeffe Museum
<Banana Flower 1934>
oil on canvas, 9 by 16 inches
Oil on canvas, 8 1/8 x 10 1/8 in.
Georgia O’Keeffe Museum.
( Gift of the Burnett Foundation and
The Georgia O’Keeffe Foundation )
<Yellow Hickory Leaves with Daisy, 1928>
In the 1920s, Georgia O'Keeffe
began concentrating on representing
enlarged still-life elements
with carefully realistic handling.
Although known more for her flower paintings,
she frequently depicted leaves, inspired by
the examples she found on her walks
around Lake George in upstate New York,
where she summered with her husband :),
Alfred Stieglitz, between 1918 and 1928.
Georgia O’Keeffe Museum.
( Gift of the Burnett Foundation and
The Georgia O’Keeffe Foundation )
In the 1920s, Georgia O'Keeffe
began concentrating on representing
enlarged still-life elements
with carefully realistic handling.
Although known more for her flower paintings,
she frequently depicted leaves, inspired by
the examples she found on her walks
around Lake George in upstate New York,
where she summered with her husband :),
Alfred Stieglitz, between 1918 and 1928.
Oil on canvas, 75.6 x 101.6 cm
Philadelphia Museum of Art
(The Alfred Stieglitz Collection, 1949)
(The Alfred Stieglitz Collection, 1949)
In 1939, O'Keeffe had written of the bones
as "strangely more living than the animals
walking around,"and in the 1941 painting
her response is given visual from.
<Oriental Poppies, 1928>
oil on canvas.
Frederick R. Weisman Art Museum
Minneapolis, Minnesota.
Frederick R. Weisman Art Museum
Minneapolis, Minnesota.
The desert bones of New Mexico
sparked O'Keeffe's imagination.
Rather than signifying death,
O'Keeffe said that the bones symbolized
the eternal beauty of the desert.
Rather than signifying death,
O'Keeffe said that the bones symbolized
the eternal beauty of the desert.
Happy Halloween^^*
♥
