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Bezig met laden... Georgia O'Keeffedoor Georgia O'Keeffe, Bice Curiger
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 Meld je aan bij LibraryThing om erachter te komen of je dit boek goed zult vinden. Op dit moment geen Discussie gesprekken over dit boek.  HenrySt123 | Dec 27, 2023 |  geen besprekingen | voeg een bespreking toe
One of the greatest American painters of the twentieth century, Georgia O'Keeffe is beloved by a broad audience that ranges from the most erudite art historian to the twelve-year-old girl next door. Her monumentally sensuous oil paintings of flowers hang in the best museum collections but are known as well via mass-produced posters, greeting cards and calendars; her weathered, elegant, fierce self has long been mythicized through Alfred Stieglitz's classic black-and-white photographs of his wife. This large-format monograph on O'Keeffe renews her place in the modern canon and encourages an intensive encounter with her work. Her radical departures from imitative realism, the style that was prevalent when she began to study art making, eventually led to an idiosyncratic painting style characterized by a state of suspension. Over the course of her lengthy career--she worked up until two years before her death at age 98--she discovered and developed a personal language through which to express her own feelings and ideas, creating bold picture conceptions and spatial designs that hover somewhere between the real and the abstract, the close-up and the monumental, natural representation and artificiality. Geen bibliotheekbeschrijvingen gevonden. |
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 Google Books — Bezig met laden...GenresDewey Decimale Classificatie (DDC)759.13The arts Painting History, geographic treatment, biography United States and Canada United StatesLC-classificatieWaarderingGemiddelde: (4.5)
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Along with more than seventy of O’Keeffe’s paintings and drawings were photographs of her, notably those by her promoter and husband, Alfred Stieglitz. Although his figure studies contributed to a reductionist interpretation of her flower paintings, my take after reading the essays in this book is that these were not exploitation but that O’Keeffe worked with Stieglitz in forming her public persona. Her life, her work, and the photos interpret each other. Taken together, they present the image of an autonomous personality.
The essays by Bice Curiger, Carter Ratcliff, and Peter J. Schneemann reiterate this. While the reading “flowers equal genitalia” is too simplistic, it seems that O’Keeffe’s denial of this view should not be taken at face value either.
The book includes “Momentaufnahmen,” short reactions by sixteen artists. While most are positive, some indicate they admire the person and what she represents more than the work. This seems related to her delayed reception in Europe. Her work is too abstract to be representational, too representational to be abstract.
O’Keeffe has been a favorite since I first saw her paintings in the 1960s. I enjoyed the Zurich retrospective, a mix of familiar work and many I hadn’t seen before. And I’m glad I can revisit the exhibit through the pages of this book. (