Georgia OKeefe Essay

This essay has a total of 1155 words and 5 pages.

Georgia OKeefe

* Georgia O'Keeffe is one of the most influential artists there is today. Her works are
valued highly and are quite beautiful and unique. As a prominent American artist, Georgia
O'Keeffe is famous for her images of gigantic flowers, city-scapes and distinctive desert
scenes. All of these different phases represent times in her life. Throughout the seventy
years of her creative career, Georgia O'Keeffe continually made some of the most original
contributions to the art of our time. As Georgia O'Keeffe's awareness of her sexuality
heightened, she started to paint marvelous original abstractions in exuberant rainbows or
colors. These colors seemed to celebrate her happiness. One of her paintings Music--Pink
and Blue I, she encircles a "blue vaginal void with pulsating waves of rippling pink and
white." There is always so much that you can get from a picture. Everyone that looks at it
will definitely have a different interpretation of what they see in it. The white sizing
under the smooth surface makes the colors luminate in Music--Pink and Blue I. The two oval
shapes bring out the sea, sky, and other images. The central form is a little more
complex. The left archway uses blues and pinks alternately. On the inner edge of the arch,
pink hues mix in to rose with gray edges. The warm colors and lines are controlled yet
fluid. As the title tells, an inner and outer harmony is reached. Georgia O'Keeffe's Black
Iris is noted for its sensual suggestiveness, but she insisted that she was representing
the flower itself. She even flatly denied that the flower was a metaphor for female
genitalia. O'Keeffe's flowers were painted frontally and revealingly had the effect of
making the human beings who stood in front of them become smaller. "The observer feels
like Alice after she had imbibed the 'Drink Me' phial" wrote a reviewer in amusement. The
size of the bloom relative to a human really reflected the relative importance of nature
and mankind in the artist's eyes. Georgia O'Keeffe painted everything from lilies,
jonquils, daisies, irises, sweet peas, morning glories, poppies, forget-me-nots,
marigolds, poinsettias, orchids, sunflowers, petunias, marigolds, and many more were
reborn in her paintings. O'Keeffe wasn't happy because people looked at her paintings and
tried to see them in the way of a female. She said, "Well--I made you take time to look at
what I saw and when you took time to really notice my flower you hung all your own
associations with flowers on my flower and you write about my flower as if I think and see
what you think and see of the flower--and I don't." She did not like the idea that people
thought she painted the way she did because she was a female. She painted that way because
that was how she saw things. The flowers that she created epitomize her growth, success,
magnetism, and energy at that certain stage in her career. Her choice to paint these
flowers was influenced by her early training, natural attraction to flowers, and the idea
of something fresh and fragile. Close observations of O'Keeffe's flowers show that she
never really pursued the realistic approach. She didn't paint every petal and detail.
Instead she gave her flowers a life of their own, and expression that changed
significantly between 1918 and 1938. Her red canna painting gradually enlarged the central
flower image and brought it closer to the edges of the canvas. Between 1926 and 1929 she
painted a group of views of New York City. New York Night transforms skyscrapers into
patterned, glittering structures that deny their volume. Most of these buildings were
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