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Impossible, But True: A New Novel About Georgia O'Keeffe Has Something Original to Say About Her
Scott Paperback, " Return to top. Back to home page. Listed in category:. Scott Paperback, Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab Add to Watchlist. Opens image gallery Image not available Photos not available for this variation. Scott Be the first to write a review. Brand new: A new, unread, unused book in perfect condition with no missing or damaged pages.
Georgia O'Keeffe , the most famous woman artist of American modernism in the twentieth century and a pioneer in shaping abstract art, created an unprecedented, fiercely independent and intense world, focused as much on the grandeur of the high desert mesas and cliffs as on the smallest flower.
A world has formed around O'Keeffe as well, incorporating the photographic nude studies of her by Alfred Stieglitz, a gallery impresario and leading advocate of photography as a fine art as well as O'Keeffe's mentor and later husband, and the photographs of O'Keeffe in her later years. She then quit painting for four years, claiming later that it was due to her frustration with the tradition she was working in. In , at a summer course for art teachers at the University of Virginia, she discovered the theories of artist Arthur Wesley Dow, as taught by his colleague Alon Bement.
Inspired, she began painting again. In , with financial assistance from Stieglitz, she moved to New York; they fell in love shortly after, and married in Although her poor eyesight forced her to stop painting in the s, she continued to work in pencil, watercolor, and clay until her health worsened in She died in , at the age of ninety-eight.
It houses 1, of her works. Her plate has the most height, signifying her artistic liberation and her success as a female artist. A piece of raw Belgian linen, which is used for art canvases, is attached to cherry wood stretcher bars.
- Bestselling Series.
- Georgia O'Keeffe (Critical Lives).
- The Days of Duveen;
Arrowsmith, Alexandra, and Thomas West, eds. Callaway, Nicholas, and Doris Bry, eds. New York: Alfred A. Knopf, in association with Nicholas Callaway, Drohojowska-Philp, Hunter.
Critical Lives: Georgia O'Keeffe by Nancy J. Scott (, Paperback) for sale online | eBay
New York: W. The O'Keeffe book covers her marriage to Alfred Stieglitz and her web of connection to artists, museums, and patrons. Some of that is known already but the book adds forceful evidence from letters that have recently become available. Those letters and other records make observations on herself, on those who meant something in her life, and on American social history. The issue at the center of O'Keeffe's life is her work. But we are left with the why and how a mid-western artist learned her modernist trade, became a figure of the s, went through a cycle of friends and lovers, maintained a correspondence with writers and painters, and managed to sell her work after retreating from the big world to a place independent of it.
His coverage of their work is more lucid than that of the New Yorker and contemporary newspapers—but there is more to the story. Wilson discovered the Midwest just when Georgia O'Keefe was an unwilling part of it.
An American Proto-Abstractionist
In , he wrote some letters to friends while stationed at Base Hospital 36, near Detroit. It was about provincial America, a country entirely new to him:. I spend two-thirds of the week cursing the results of American civilization. They are so pretty, so fine, and so ill educated: they know that woman's place is in the home and have no other desire or aim except to exhibit the domestic virtues.
The age, the nation has passed them by; they are little girls at twenty. But there were always les voix du silence. Here is O'Keefe on being mid-western in I grew up pretty much as every [ sic ] else grows up and one day seven years ago found myself saying to myself - I can't live where I want to - I can't go where I want to - I can't do what I want to - I can't even say what I want to - School and things that painters have taught me even keep me from painting as I want to.
I decided I was a very stupid fool not to at least paint as I wanted to - So these paintings and drawings happened and many others that are not here. Her critics often alluded to the Freudian shapes and symbols in her work, but they may have had the wrong texts on their minds. We find out a great deal about the agonies of dealing with patrons and working for displays of corporations.