cover

Front cover illustration

Belladonna - Häna, 1939.

Oil on canvas, 92 x 76.2 cm,

Private collection.

 

Author Janet Souter

Design: Baseline Co Ltd

61A-63A Vo Van Tan Street

4th Floor

District 3, Ho Chi Minh City

Vietnam

 

© Parkstone Press Ltd, New York, USA

© Confidential Concepts, Worldwide, USA

© OKeeffe Estate / Artists Rights Society, New York, USA

© Alfred Stieglitz Estate / Artists Rights Society, New York, USA

 

ISBN: 978-1-78310-747-6

 

All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

Janet Souter

 

 

 

Georgia OKeeffe

 

 

 

 

 

 

CONTENTS

 

 

Introduction

1887-1907
Early Years: The Shaping of Georgia O’keeffe

1907-1916
Finding Her Vision in the Emerging World of Modern Art

1916-1924
I’ve Given the World a Woman

1925-1937
The Stieglitz Years: Galleries, exhibitions, commissions

1938-1949
An Artist in her own right

1949-1973
The New Mexico years

1973-1986
Artist emeritus

Biography

Bibliography

Index

Notes

Portrait of Georgia OKeeffe.

 

 

 

INTRODUCTION

 

 

Georgia O’Keeffe, in her ability to see and marvel at the tiniest detail of a flower or the vastness of the southwestern landscape, drew us in as well. The more she cultivated her isolation, the more she attracted the rest of the world. What is it that makes her legacy so powerful, even today? People recognize flowers, bones, buildings. But something in her paintings also shows us how to see. We stroll on the beach or hike a footpath and barely notice a delicate seashell or the subtle shades of a pebble; we kick aside a worn shingle. Driving through the desert we shade our eyes from the sun, blink, and miss the lone skull, signifying a life long since gone. Georgia embraced all these things and more, brought them into focus and forced us to make their acquaintance. Then, she placed them in a context that stimulated our imagination. The remains of an elk’s skull hovering over the desert’s horizon, or the moon looking down on the hard line of a New York skyscraper briefly guide us into another world.

Her abstractions tell us that the play of horizontal and vertical shapes, concentric circles, curved and diagonal lines, images that exist in the mind, are alive as well and deserve to be shared. Georgia sensed this even as an art student in the early part of this century as she sat copying other people’s pictures or plaster torsos.

In her own life, she showed women that it was possible to search out and find the best in themselves; easier today, not so easy when Georgia was young. Her later years serve as a role model for those of us who feel life is a downhill slide after the age of sixty. Well into her nineties, her eyesight failing, she still found ways to express what she saw and how it excited her.

We look at her work and talk about it, but even Georgia had difficulty putting her thoughts into words. Her thoughts were on the canvas. What we can do in this book is see her evolution, who influenced her and how she forever sought out new experiences.

We cannot discuss these discoveries with Georgia O’Keeffe. Those days are gone. But if we look around, we can see that she still talks to us.

To this day, her work is as bright, fresh and moving as it was nearly 100 years ago. Why? Because, although the paintings, simple in their execution, hold a feeling of order, of being well thought out, a steadiness, yet a vehicle to help all of us see and examine the sensual delicacy of a flower, the starkness of a bleached skull and the electricity of a Western sunset.