Text by Catherine Millet, Marta Ruiz del Árbol, Ariel Plotek, Didier Ottinger. Contributions by Dale Kronkright, Susana Pérez, Andrés Sánchez Ledesma, Ubaldo Sedano, Marta Palao, Anna Hiddleston-Galloni.
A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter
Offering a complete survey of Georgia O’Keeffe’s illustrious career, this magnificent new book ranges from the works produced between 1910 and 1920 that made her a pioneer of abstraction to her celebrated flower paintings and views of New York, which led to her recognition as one of the key figures in modern American art, and culminating with her paintings of New Mexico.
The selection of color plates is accompanied by quotes from O’Keeffe on her art and additional photographic material pertaining to the paintings. The sense of reverence for the world and its forms emerges vividly through O’Keeffe’s words. “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding—to understand maybe by trying to put it into form,” she writes. “To find the feeling of infinity on the horizon line or just over the next hill.”
Also featured are a biography and texts by contributing curators from the venues to which the show travels, by scholars at the Georgia O’Keeffe Museum in Santa Fe and by acclaimed French art writer Catherine Millet.
Georgia O’Keeffe (1887–1986) began her art training at the School of the Art Institute of Chicago and the Art Students League of New York. She moved to New York in 1918, and in 1924 married Alfred Stieglitz. From 1929, O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes. After Stieglitz's death, she lived permanently in New Mexico, in Abiquiú, later moving to Santa Fe.
"Ram's Head, White Hollyhock-Hills" ("Ram's Head and White Hollyhock, New Mexico"), 1935, Oil on canvas. 76,2 x 91,4 cm Brooklyn Museum, Bequest of Edith and Milton Lowenthal @ Georgia O’Keeffe Museum.
PRAISE AND REVIEWS
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Julia Vitale
New York City street scenes meet oversize flowers and the American West in a sweeping survey of Georgia O’Keeffe’s epic work.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
July 13–19, 2021, please join Artbook | D.A.P. in the Aesthetic Movement Showroom from 9am–6pm daily at the Atlanta Gift Market to view a curated selection of new books on art and culture! To preview our full list of titles at the Atlanta Summer Gift & Home Market click here! continue to blog
"Jimson Weed/White Flower No. 1" (1932) is reproduced from the superb new 316-page catalog to the international traveling exhibition currently on view at the Centre Pompidou. "The Jimson Weed was one of O’Keeffe’s favorite flowers,” the editors write. “She grew the night blooming flower at her home in Abiquiú, allowing the blossoms to spread before realizing they were poisonous. The plant’s dual nature, its importance to the Indians, drew O’Keeffe to the flower which she transformed into a powerful statement of harmonized shape and color: ‘The Jimson weed blooms in the cool of the evening – […] Don Juan speaks of uses the Yaqui Indians make of the Jimson weed that almost make one afraid. When I found that they are poisonous, I dug them up but in Abiquiú, a few keep on growing persistently. Now when I think of the delicate fragrance of the flowers, I almost feel the coolness and sweetness of the evening.'" continue to blog
"Series I – No. 3" (1918) is reproduced from Georgia O’Keeffe, the catalog to the major survey opening at Fondation Beyeler in Basel, Switzerland, in January 2022. Featuring 245 superb reproductions alongside a substantial biography and scholarly texts, this is essential reading for every serious art library, collector or lover of Modernist painting. “O’Keeffe’s interest in the idea of creating a visual equivalent of music in painting was one she shared with a number of artists she associated with, such as Marsden Hartley, Max Weber and Arthur Dove, as well as [Alfred] Stieglitz,” the editors write. “Her synesthetic designs of 1919 were consistent with the new aesthetic concerns of American modernity. Musical performances with projections of light were in vogue in New York at the time and O’Keeffe owned a book of theories on the subject. However, her interest was first aroused whilst studying with Arthur Wesley Dow in 1916. She remembered vividly: ‘Walking down the hall of Columbia University Art Department, I heard music. Being curious, I opened the door and went in. The instructor was playing a low-toned record, asking the class to make a charcoal drawing from it. So I sat down and made a drawing too.’ This experience ‘gave me an idea that I was very interested to follow—the idea of lines like sounds.’” continue to blog
FORMAT: Hbk, 8.75 x 11 in. / 316 pgs / 171 color / 74 b&w. LIST PRICE: U.S. $65.00 LIST PRICE: CANADA $91 GBP £57.00 ISBN: 9788417173494 PUBLISHER: D.A.P./Museo Nacional Thyssen-Bornemisza AVAILABLE: 7/13/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD Except Spain
Published by D.A.P./Museo Nacional Thyssen-Bornemisza. Text by Catherine Millet, Marta Ruiz del Árbol, Ariel Plotek, Didier Ottinger. Contributions by Dale Kronkright, Susana Pérez, Andrés Sánchez Ledesma, Ubaldo Sedano, Marta Palao, Anna Hiddleston-Galloni.
A visual feast of flowers, abstractions, cityscapes and landscapes from American modernism’s most iconic painter
Offering a complete survey of Georgia O’Keeffe’s illustrious career, this magnificent new book ranges from the works produced between 1910 and 1920 that made her a pioneer of abstraction to her celebrated flower paintings and views of New York, which led to her recognition as one of the key figures in modern American art, and culminating with her paintings of New Mexico.
The selection of color plates is accompanied by quotes from O’Keeffe on her art and additional photographic material pertaining to the paintings. The sense of reverence for the world and its forms emerges vividly through O’Keeffe’s words. “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding—to understand maybe by trying to put it into form,” she writes. “To find the feeling of infinity on the horizon line or just over the next hill.”
Also featured are a biography and texts by contributing curators from the venues to which the show travels, by scholars at the Georgia O’Keeffe Museum in Santa Fe and by acclaimed French art writer Catherine Millet.
Georgia O’Keeffe (1887–1986) began her art training at the School of the Art Institute of Chicago and the Art Students League of New York. She moved to New York in 1918, and in 1924 married Alfred Stieglitz. From 1929, O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes. After Stieglitz's death, she lived permanently in New Mexico, in Abiquiú, later moving to Santa Fe.
