Here we are, picking up where we left off a few weeks ago, to O’Keeffe again… Still Art Nouveau times but American style.

Georgia O’Keeffe as an American myth, is largely the responsibility of Alfred Stieglitz, due to his sexually alluding photographies of her. Even though his pictures evolve into character portraits over time, the impact of those first images, and his attitude to O’Keeffe’s art as an expression of female emotion, resulted in freudian interpretations during the 20ies and 30ies.

Portrait of Georgia O’Keeffe, Alfred Stieglitz, 1918

Partially as a reaction against these misinterpretations, she more and more turned towards New Mexico and a life outside the New York art scene.

O’Keeffe was neither naïve, nor was she primitive, as Stieglitz wanted his audience to believe, as he was busy, strategically creating the myth of O’Keeffe. She was an academic scholar, award-winning student and scholarship holder with excellent grades. She was prepared for her abstract art through the Fenollosa-Dow system of education, which had many parallells with the avantgarde in Europe.

Peters, who met O’Keeffe personally, tells that she was an intelligent, humoristic, practical, emotionally vulnerable, obstinate, peculiarly reckless individual with self-confidence – a self-motored individual, full of honest and personal opinions about herself, people and ideas. According to Peters, she read Nietzche, Ibsen, Tjechov and Masses – a left wing paper about politics, art, propaganda.

Where I was born and where and how I have lived is unimportant. It is what I have done with where I have been that should be of interest.

Portrait of Georgia O’Keeffe, Alfred Stieglitz, 1918


Video footage

Footage & interview of the 92 year old Georgia O’Keeffe taken in and around her home in New Mexico.


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