O SÉCULO PRODIGIOSO

A arte no século XX

O'Keeffe, Georgia - Naturalismo Abstracto



Nude series VIII, 1917
Watercolor on paper
45,7 x 34,3 cm
Estate of Georgia O'Keeffe




Light coming on the plains II, 1917
Watercolor on paper
30,2 x 22,5 cm
Amon Carter Museum. Fort Worth. Texas




Canyon with crows, 1917
Watercolor on paper
22,9 x 30,5 cm
Estate of Georgia O'Keeffe





Evening Star, No. III - 1917
Oil on canvas
Museum of Modern Art, New York City





Series I, nº 4, 1918
Oil on canvas
50,8 x 40,6 cm
Estate of Georgia O'Keeffe




Blue and Green Music - 1919
Oil on canvas
58,4 x 48,3 cm
Art Institute of Chicago



Series I No. 8, 1919
Oil on canvas
50.8 x 40.6 cm
The Georgia O'keeffe Foundation. Abiquiu (NM)




Music - Pink and Blue II - 1919
Oil on canvas
88.9 x 74 cm
Museum of American Art, New York City



A Storm - 1922



Red Canna - 1923



Grey Line with Black, Blue and Yellow, 1923
OIl on canvas
48 x 30 in
Museum of Fine Arts, Houston, Texas





Pattern of leaves, 1923
Oil on canvas
53,7 x 46 cm
The Phillips Collection. Washington, D.C.




From the lake nº 1, 1924
Oil on canvas
94,3 x 78,7 cm.
Des Moines Art Center




Black Iris II - 1926



Black iris III, 1926
Oil on canvas
91,4 x 75,9 cm
The Metropolitan Museum of Art



Tan clam with seaweed, 1926
Oil on canvas
22,9 x 17,8 cm
Estate of Georgia O'Keeffe




Red poppy, 1927
Oil on canvas
17,8 x 22,9 cm
Private Collection




Abstraction, blue, 1927
Oil on canvas
102,2 x 76,2 cm
The Museum of Modern Art. New York City




Pink Sweet Peas, 1927
Pastel on paper
Private collection




Oriental Poppies - 1928
Oil on canvas
76.2 x 101.9 cm
University of Minnesota. Weisman art Museum. Minneapolis



Pink Dish and Green Leaves - 1928



Two calla lilies on pink, 1928
Oil on canvas
101,6 x 76,2 cm
Estate of Georgia O'Keeffe




Horse Skull on Blue - 1930



Jack-in-the-Pulpit No. IV - 1930
Oil on canvas
101.6 x 76.2 cm
National Gallery of Art, Washington (DC).



Jack-in-the-Pulpit No. V - 1930
Oil on canvas
121.9 x 76,2 cm
Estate of Georgia O'Keeffe



Cow's Skull With Calico Roses - 1931
Oil on canvas
Estate of Georgia O'Keeffe



Horse´s skull with white rose, 1931
OIl on canvas
78,7 x 43,2 cm
Private Collection.




Eagle claw and bean necklace, 1934
Charcoal on paper
48,3 x 63,8 cm
The Museum of Modern Art. New York City



Summer Days - 1936
Charcoal on paper
92.1 x 76.7 cm
Whitney Museum of American of Art. Nueva York



The broken shell - pink, 1937
Oil on canvas
30,5 x 25,4 cm
Estate of Georgia O'Keeffe




White shell with red, 1938
Pastel on paper-covered board
54,6 x 69,9 cm
Estate of Georgia O'Keeffe.



An Orchid - 1941
Pastel on paper mounted on board
27 5/8 x 21 3/4" (70.2 x 55.2 cm)
The Museum of Modern Art, New York City




Pelvis with shadows and the moon, 1943
Oil on canvas
101,6 x 123,8 cm
Frank Lloyd Wright Foundation



Pelvis III, 1944
Oil on canvas
121,9 x 101,6 cm
Collection of Calvin Klein




Goat´s horn with red, 1945
Pastel on paper
70,8 x 80,5 cm
Hirshhorn Museum and Sculpture Garden. Smithsonian Institution



Sky above Clouds II, 1963
Oil on canvas
121,9 x 213,4 cm
Private Collection




Winter road I, 1963
Oil on canvas
55,9 x 45,7 cm
Estate of Georgia O'Keeffe



Canyon Country, 1964
Oil on canvas
Phoenix Art Museum, Phoenix, USA

....................................................................................
No quadro "Jack-in-the-Pulpit No. IV" de 1930, formas em azul e verde intensos fundem-se umas com as outras. Parecendo abstracta à primeira vista, na realidade esta obra representa uma flor. Ao cortar a imagem e ao confundir o sentido da proporção, técnicas que O'Keeffe aprendeu com a fotografia, ela faz com que a flor pareça tão vasta quanto uma paisagem. Centrando-se na sua sensualidade orgânica, a autora satura o quadro com imagens sexuais. Esta obra revela o interesse da pintora em representar as qualidades abstractas dos objectos. O'Keeffe, uma das mais importantes pintoras vanguardistas dos EStados Unidos antes de 1945, assimilou as tendências mais radicais da arte europeia. Juntou a estas tendências uma sensibilidade mais especificamente americana, que teve origem na vastidão da paisagem do país e no desejo de produzir arte que possa ser compreendida de forma universal. As flores eram um tema favorito, assim como outras formas naturais, tais como as montanhas, as rochas, os ossos e o pôr-do-sol.
Gergia O'Keeffe nasceu em Sun Prairie, WI, EUA em 15 de Novembro de 1887 e morreu em Santa Fé no dia 6 de Março de 1986, com a idade de 98 anos.
.........................................................................................................
"When I was still a little girl, I used to think that since I couldn't do what I wanted to… at least I could paint as I wanted to, and say what I wanted to when I painted." Georgia O'Keeffe.

Georgia O'Keeffe is known for her brilliantly colored paintings with confident shapes and simple patterns. She painted a great many floral paintings which were large pieces with the flower exaggerated and enlarged to completely fill the canvas, then stylized to their most essential forms. She is also known for her Southwest paintings which include adobe buildings, desert mountain panoramas or floating cow skulls against rich blue skies. The emphasis on the simplest aspects of the shapes created a surrealistic dynamic that is captivating. O'Keeffe was born on November 15, 1887 in Sun Prairie, Wisconsin. She knew from a young age that she would be an artist when she grew up. She studied first at the Art Institute of Chicago. After stopping her education due to a bout of typhoid, she resumed study in 1907 at the Art Student League in New York. She was following a family tradition of educated women- an idea not prevalent at that time. Even as she excelled in her studies it was believed that she would end up teaching art rather than making it. Georgia moved for a time with her family to Virginia, but in 1914, when a teaching job opened in Amarillo, Texas, she took it. After two years she went to New York's Columbia Teacher's College, and took a job at Columbia College in South Carolina. Georgia O'Keeffe's friend Anita Pollitzer was taken by O'Keeffe's works and took some samples to show Alfred Steiglitz at the 291 Gallery in New York. Some sources say that she did so without O'Keeffe's permission. Steiglitz was a respected Gallery curator and artist himself, and O'Keeffe respected his opinion, but even though he loved them it took some negotiations with O'Keeffe to convince her to let him exhibit her work. O'Keeffe returned to Texas and worked at the West Texas Normal College while painting the scenes she loved, and hiking the Palo Duro Canyon. An illness caused her to quit her job- or perhaps it was her radical political views clashing with her colleagues. In any case, she returned to New York at Alfred Steiglitz's urging. After several years of cohabitation, Steiglitz divorced his wife and they married when she was 23 and he was 54. O'Keeffe was not enthusiastic, however. Their many trips to the Steiglitz family home in the Adirondacks were the inspiration for many paintings. They spent several years living in a New York City hotel, and her view there also served as inspiration. It was in New York that she painted her first large flower paintings. Beck Strand was a friend who invited O'Keeffe on a trip to Taos New Mexico at a time when the artist was craving new scenery to paint. Steiglitz didn't like travel and firmly stayed in New York except for occasional uncomfortable forays elsewhere with O'Keeffe. She spent all her summers in Taos from then on, and when Steiglitz died in 1946, she moved there permanently. She purchased a hacienda at Ghost Ranch, New Mexico and it became her lair for much of the remainder of her life. Her eyesight began to fail in the early seventies and by 1972 she could no longer see well enough to paint. A young man named Juan Hamilton, a potter, came to do odd jobs for O'Keeffe and ultimately became her closest companion in her later years. Many felt he was using her for his own ends, but O'Keeffe liked him and he stayed. She even did a bit of pottery herself while knowing him. At the very end of her life she moved to Santa Fe, New Mexico. It was there that she died in 1986 at the age of 98. She was cremated the next day and Juan Hamilton scattered her ashes from Pedernal Mountain as she had requested.
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This entry was posted on Terça-feira, Março 07, 2006 at 5:38 PM. You can skip to the end and leave a response.

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5:28 PM

cada dia gosto mais de -----------------------------------TI.




b-e-i-j-o-    



8:49 PM

E eu cada vez gosto mais deste blogue. É aqui que eu venho tomar banho de luz e cor.
Obrigada.    



5:32 PM

Beautiful Georgia O'Keeffe
Beautiful music background.
Can you tell me the source for the music, please?
thanks

Christopher    



2:19 PM

parabens pelo blog, tem trabalhos muito interessantes. Sou tambem um pintor, autodidacta, se puderem visitem o www.membirarte.blogspot.com, akel abraço, KANIMAMBO    



2:20 PM

Continuem trabalhando que vao longe, sucessos e persistencia    



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