Published by Radius Books/Georgia O'Keeffe Museum. Text by Amy Von Lintel.
Georgia O’Keeffe: Watercolors catalogues the first major exhibition of the nearly 50 watercolors created by O’Keeffe between 1916 and 1918, while she lived in Canyon, Texas. These years mark a period of radical innovation for the artist, during which she firmly established her commitment to abstraction. While her work in Texas is often understood as merely a prelude to her career in New York City, these watercolors and drawings mark a seminal stage in O’Keeffe’s artistic formation, representing the pivotal intersection of her disciplined art practice and her allegiance to the revolutionary techniques of her mentor, Arthur Wesley Dow. O’Keeffe’s watercolors explore the texture and landscape of the Texas desert and the artist’s own body in an exceptionally fragile and sensitive medium, representing a substantial achievement in their own right. These early works also relate to O’Keeffe’s large-scale oil paintings, which in their handling of color and texture in some ways seem to aspire to the condition of watercolor. Designed to emphasize direct contact with these beautiful works, Watercolors features full-scale color reproductions of the paintings, most of which are approximately 8x12 inches in scale, offering a powerful testament to the significance of the watercolors in O’Keeffe’s creative evolution. Georgia O’Keeffe (1887–1986) is best known for her distinctive paintings of flowers and landscapes which applied a precise, often hard-edged abstract language to evocative natural forms. Dubbed the "mother of American modernism," O’Keeffe produced more than 1,000 artworks in a career of more than 60 years.
Published by International Arts/The Torch Press. Edited by Joseph Czestochowski. Essays by Eugenia Parry, Robert Rosenblum, James Turrell, Marjorie Balge-Crozier, Charles C. Eldredge, Therese Mulligan, Barbara Novak, Sharyn R. Udall, and John Wilmerding.
Even in her earliest works, Georgia O'Keeffe was a visionary who intuitively created her own definitions of the sublime, enhanced the perception of its visual symbols, and provided new ways to view the surrounding environment and explore one's inner self. Over the past two centuries, the concept of the sublime has been substantially redefined by a small number of artists, writers, and critics, for whom it has become a vital source of spiritual values at times of increased secularism. For O'Keeffe, already imbued with the spiritual and transcendental, the sublime was not a theoretical concept; it was manifest in her everyday worldly experiences. Although most of O'Keeffe's works are landscapes, the sublime, for her, was not necessarily associated with a physical location; hers was a state of mind in which nature and the sublime transcended specific times and places--though every aspect of her surroundings spoke to her. As only few others have, O'Keeffe demonstrated an intuitive association with all that can be considered sublime, and in her remarkable journey with color, line, light, and form, from the abstract to the representational, she pursued a spiritual quest that has dramatically refined the visual qualities of the sublime. Her work spoke directly to 20th-century modern art with an originality and vitality that today retains a relevance not easily equaled.
PUBLISHER INTERNATIONAL ARTS/THE TORCH PRESS
PUBLISHING STATUS PUB DATE 10/2/2004 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2004
PRODUCT DETAILS ISBN 9780971640825TRADE LIST PRICE: $85.00 CDN $100.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Published by Hatje Cantz Publishers. Edited by Bice Curiger. Essays by Bice Curiger, Carter Ratcliff, Peter J. Schneimann and Robert Storr.
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.