By Dennis Abrams
Recognized for her notable work and her mystique, Georgia O'Keeffe created evocative work that mirrored her followed domestic of latest Mexico. as soon as a Wisconsin farm woman, she studied the vintage ideas of paintings, basically to reject them after a summer time paintings institution category helped her locate her personal creative variety. She then relocated to big apple, breaking into its bustling paintings scene of the Nineteen Twenties with the aid of photographer Alfred Stieglitz, who she married. quickly, although, O'Keeffe learned her courting with Stieglitz used to be either a aid and predicament to her improvement as an artist, and he or she sought to strike out on her personal, discovering a real domestic in New Mexico. simply because geography enormously affected her artwork, the circulate to the Southwest introduced her daring artwork to fruition. In "Georgia O'Keeffe: Artist", examine the adventure of 1 of America's most interesting artists.
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Additional resources for Georgia O'Keeffe: Artist (Women of Achievement)
By using extreme close-ups and interesting angles in his photos, Strand made subjects such as chairs, bowls, and fruit appear as abstract shapes rather than as purely realistic objects. , would prove to have a strong influence on O’Keeffe’s art. She approved of the influence of Japanese art in his photos, and through him learned new ways to reach an abstraction of reality. There was more, though, than just an admiration of his art. During O’Keeffe’s time in New York, she developed strong feelings for Strand, feelings that he reciprocated.
16 As much as she admired the landscape of Palo Duro Canyon, O’Keeffe was mesmerized more by the general flatness of the land in Texas—prairies that went as far as the eye could see, covered with nothing but limitless blue sky dotted with dramatic cloud formations. It was love at first sight. O’Keeffe relished waking up early in the morning to watch the daily train arrive in Canyon, puffing its way across the flat prairie. Then, as evening came, she would walk west beyond the end of the town to watch the sun drop below the straight line that was the western horizon.
These were rich round forms, in blacks, whites, and grays, beautiful in texture and proportion. . I knew after looking at them, in spite of her bidding, that there was one person who must see them. 5 Stieglitz, the man who perhaps knew more about modern art than anyone else in the country, was stunned by O’Keeffe’s drawings. 6 He went on to tell Pollitzer, “Why, they’re generally fine things. You say a woman did these. . She’s broadminded. She’s bigger than most women, but she’s got the sensitive emotion—I’d know she was a woman—Look at that line.