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Georgia OKeeffe Gergia Β Keeffe is ne f the mst influential artists there is that. Her wrk's are valued highly and are quite beautiful and unique. Gergia Β Keeffe Precisinist, is the term mst widely used t describe Gergia Β Keeffe's wrk. Β Keeffe's great clarity in painting is what identifies her well-known paintings f urban architecture, mountains, bne's, and flwer's. The simple, clear frm's in her masterpieces made her a printer f a new modernism in the USA.
Brn in 1887 n a farm in Sun Prairie, Wisconsin, Gergia Β Keeffe became an important American artist as early as the age f 17. After being given art lessons at home as a child her artistic talent was discovered and later Georgia studied fr ne year at the Chicago Art Institute under Jan Vanderpel. While OKeeffe was at college she was taught to mimic the styles of realism but soon realized she could never achieve distinction working within this tradition. She continued her studies in New York City at the Art Students League with William Merritt Chase.
Als in New York she attended Columbia Teachers College. There she studied with Arthur Dw, an artist and art educator at Teachers College, who encouraged her to pursue her own style of abstract art. After taking a suggestion from Wesley Georgia started creating art again, this time as an attempt to discover a personal language through which she could express her own feelings and ideas. OKeeffe began a series of abstract charcoal drawings and sent them to a past classmate of hers, Alfred Stieglitz, a famous photographer who exhibited ten of these pieces.
Alfred was so impressed that he displayed some of her work in one of his exhibits without her permission. He was so happy to show a womens work for a change. Georgia OKeeffe became angry and demanded her drawings to be removed. But she could not resist the support and friendship of Alfred Stieglitz. They married in 1924 when Georgia OKeeffe was 37 years old.
Gergia Β Keeffe became an artist during a time when when were nt taken seriously. But by being friends with Stieglitz, she was able t jin in with ther artists and be easily accepted. Gergia Β Keeffe painted familiar things f nature that were and her, such as flwer's. In 1929 when she visited a friend in Mexico her life and art changed.
She painted bject's fund in the desert such as: a sun bleached animal skull and dessert sky. She used the class f the Southwest in her paintings-tans, greys, reddish brand and whites. In 1946 after her husband died, she made New Mexico her permanent residence. Her paintings f nature and the advancing when movement in the 1970 s and her unique appearance made Gergia Β Keeffe very popular. She continued t paint until ld age would nt all it.
She had t give up painting at 80 years ld, but went n t live t the age f 98, dying March 1986. Gergia Β Keeffe's wrk was s great because she painted things in an abstract way, but they were still familiar t the viewer. She used vivid, bld class and shapes f nature. She would change the scale f an best s much that it would fill up a we canvas.
She was als interested in painting negative space, such as the he in a pelvis bne r the space between class. Filling a space in a beautiful way. That is what art means t me used t say Gergia when people asked her abut what des painting means in her life. Although OKeeffe used her subject matter representational, the starkly linear qualities, the thin, clear colouring, and boldly patterned compositions, give the effect of an abstract design. OKeeffe tried to offer a sense of tranquillity and an appreciation of nature in her paintings. That was in the 1920 s, and everything was going so fast.
Nobody had time to reflect I decided to paint a huge flower in all its beauty. If you could paint the flower on a huge scale then you could not ignore its beauty, commented OKeeffe. As a prominent American artist, Gergia 'Keeffe is famous fr her images f gigantic flwer's, city-scapes and distinctive desert scenes. All f these different phases represent times in her life. Thought the seventy years f her creative career, Gergia 'Keeffe continually made sme f the mst regional contributions t the art f ur time. As Gergia 'Keeffe's awareness f her sexuality heightened, she started t paint marvelous regional abstractions in exuberant rainbow r class.
These class seemed t celebrate her happiness. ne f her paintings Music - Pink and Blue I, she encircles a blue vaginal vid with pulsating waves f rippling pink and white. There is always s much that yu can get frm a picture. Everyone that lks at it will definitely have a different interpretation f what they see in it.
The white sizing under the site surface makes the class laminate in Music - Pink and Blue I. The tw val shapes bring ut the sea, sky, and ther images. The central frm is a little mre complex. The left archway uses blues and pinks alternately. n the inner edge f the arch, pink hues mix in t rse with grey edges. The warm class and lines are controlled yet fluid.
As the title tells, an inner and user harmony is reached. Gergia Β Keeffe's Music - Pink and Blue I is new fr its sensual suggestiveness, but she insisted that she was representing the flower itself. She even flatly denied that the flower was a metaphor fr female genitalia. Β Keeffe's flwer's were painted finally and revealingly had the effect f making the human beings wh std in from f them become smaller. The beaver feels like Alice after she had imbibed the Drink Me phial with a reviewer in amusement. The size f the blm relative t a human really reflected the relative importance f nature and mankind in the artists eyes. Gergia Β Keeffe painted everything frm lilies, jonquils, daisies, irises, sweet peas, morning glories, puppies, free-me-nts, marigolds, poinsettias, rapids, sunflowers, petunias, marigolds, and many mre were return in her paintings. Β Keeffe wasnt happy because people like at her paintings and tried t see them in the way f a female.
She said, Well, I made yu take time t lk at what I saw and when yu tk time t really notice my flower yu hung all yur wn associations with flwer's n my flower and yu write abut my flower as if I think and see what yu think and see f the flower - and I dnt. She did nt like the idea that people thought she painted the way she did because she was a female. She painted that way because that was hw she saw things. The flwer's that she created epitomizes her growth, success, magnetism, and energy at that certain stage in her career. Her click t paint these flwer's was influenced by her early training, natural attraction t flwer's, and the idea f something fresh and fragile. Case bservatins f Β Keeffe's flwer's shw that she never really pursued the realistic approach.
She didnt paint every petal and detail. Instead she gave her flwer's a life f their wn, and expression that changed significantly between 1918 and 1938. Her red canna painting gradually enlarged the central flower image and brought it case t the edges f the canvas. Between 1926 and 1929 she painted a grup f views f New York City. New York Night transforms skyscrapers int patterned, glittering structures that deny their volume. Mst f these buildings were further simplified in her paintings and Β Keeffe was even able t find tranquillity in them that contrasted with the urban environment.
The city was a may theme in her wrk nly between these years. During this time she produced sme twenty-five paintings and drawings f urban scenery. This paintings are divided int three registers: the darkened water there and irregular relies f the east side f Manhattan, the calm waters f the East River, and the jagged piers and saggy covered factory smokestacks f Lng Island City. It was a trip t New Mexico in 1929 that led Β Keeffe t the semi abstract style fr which she became famous.
The regin's dramatic mesas, ancient Spanish architecture, vegetation, and desiccated terrain became her themes. She thought f bne's as whitened relics and symbols f the desert, nothing mre. Gergia Β Keeffe changed her style f painting t bne's. In her picture Frm the Faraway Nearby, she paints a pair f elks antlers suspended in a pinkish-blue dawn ver sme see-capped mountains. Like the ther pictures f skulls in the sky, this ne als seems t have been painted frm an elevated pint, as if the artist herself was levitating n a shimmering desert heat wave. This picture reminds sme people f the jul price f everlasting life in the message f the Christian Resurrection (Lisle 234).
In the paintings f bne's compare t her earlier wrk's, her class are less strident, frm's are less, and verbal the md is mre serene. Mre light than before is taken int the canvas and there is nw a larger sense f spaciousness. These pictures lacked a middle distance: bject's appeared either very near r very far in the desert air. This is a that contrast frm her views f enlarged flwer's.
The pioneers f American abstract responded t modern European movements in individual ways. Gergia Β Keeffe approached her subjects, whether buildings r flwer's, landscapes r bne's, by intuitively magnifying their shapes and simplifying their details t underscore their essential beauty. Her painting f Black Cross is a large, dark cross, which seems t stand watch ver the rating hills at sunset, proclaiming mans presence in this stark landscape. In Grey Hill Frm's, Gergia Β Keeffe begins with the traditionally painterly ideals. Strong diagonal lines f recession draw the eye through the scene t create a smoothly three-dimensional space. The yellow and green class blend int deeper india and greys.
The dramatic contracts in light and tne aid in the formation f space with causing t much main in the scene. The strong lines thought give the images mre conceptual meaning. The mountains are tangible and slid, clearly separated frm bth the grund and the deep blue sky. The light dramatizes bth the depth and clarity in the painting. Gergia Β Keeffe is mre concerned with the essential identity f things rather than the mere visual appearance. Suspicious f intellectual approaches t art, she was an introspective and independent visionary wh thrived n islamic.
I personally think that OKeeffe was an artistic genius. She created a new way to look at objects, which we take for, granted, and paved the way for many women artists. Β Keeffe's regional American wrk's encompass a wide visit frm taut city there t desert scapes in such vivid hues and startled the senses. When ne lks at ne f her flower paintings, such as Music - Pink and Blue I, he r she could stare at it fr a lng time and find s much detail. Gergia Β Keeffe makes a simple best that ne normally takes fr granted and turns it int something really important and beautiful. I like Gergia Β Keeffe's paintings because f the beautiful class and versed bject's. Reference: Lisle, Laurie.
Portrait of an Artist: A Biography of Georgia OKeeffe. New York: Seaview Books, 1980. Rev. ed. , New York: Washington Square Press, 1987.
OKeeffe, Georgia. Georgia OKeeffe. New York: Viking Press, 1976. Reprinted, New York: Penguin Books, 1985.
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