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
Hbk, 8.75 x 11 in. / 316 pgs / 171 color / 74 bw. | 7/13/2021 | In stock $65.00
Published by The Museum of Modern Art, New York. Text by Samantha Friedman.
During the 1920s, Georgia O’Keeffe (1887–1986) became widely known for her paintings of enlarged flowers. But she regularly returned to abstraction, and indeed found it “surprising how many people separate the objective from the abstract.” Executed in 1927, Abstraction Blue illustrates that belief, retaining the glowing color, careful modulation and zoomed-in view of the artist’s contemporaneous blooms, while forgoing any obligation toward representation. In this latest volume of the MoMA One on One series, curator Samantha Friedman considers how these and other factors converged in the creation of this composition.
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.
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.
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. Also included (in a wallet at the rear of the book) is a lengthy essay by Amy Von Lintel featuring archival photographs of O'Keeffe from these years.
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 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9780971640825TRADE List Price: $85.00 CDN $100.00
Published by Hatje Cantz. 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.