It is refreshing to realize that she has never been to Europe. Frances O'Brien declared, "O'Keeffe is America's. Even fellow artists like Arthur Dove, a member of the Stieglitz group, remarked that O'Keeffe was "doing naturally what many of us fellows are trying to do, and failing" (80).įemale painter of her time, O'Keeffe was also characterized by the critics as the quintessential American painter who properly represented America in her artwork. Female critics like Marya Mannes also argued against a gendered interpretation of O'Keeffe's work: "Before speaking of O'Keeffe's work, let us once and for all dismiss this talk of 'a woman's painting' and 'a man's painting.' Any good creative thing is neither agressively virile nor aggressively feminine." Nonetheless, O'Keeffe could not escape her sex. O'Keeffe herself detested that her artwork was categorized in such a way and she denied that her flower paintings had any sexual implications. Essence of very womanhood permeates her pictures" ( , December 1921) and the following year asserted, "there is no stroke laid by her brush, whatever it is she may paint, that is not curiously, arrestingly female in quality. Likewise, in 1921 Paul Rosenfeld declared, "Her art is gloriously female" ( , Henry Tyrell wrote that O'Keeffe, "has found expression in delicately veiled symbolism for 'what every woman knows' but what women heretofore have kept to themselves, either instinctively or through a universal conspiracy of silence (10). In a 1917 review of O'Keeffe's charcoal abstracts in Due to Stieglitz's marketing, O'Keeffe's femaleness became inseparable from her paintings. With Stieglitz's photographs and O'Keeffe's own bold style, she quickly became a favorite for the art world critics. Portrait of O'Keeffe in front of Blue ii by Stieglitz. The public could identify the artist with her work. Ultimately, Stieglitz's portraits of O'Keeffe proved to be a stroke of marketing genius because not only was the public intrigued by his photographs, but they were also captivated by O'Keeffe's work. In March of 1924 both O'Keeffe's paintings and Stieglitz's portraits were exhibited simultaneously at Stieglitz's "American Place" gallery. Over the next seven years, Stieglitz amassed hundreds of portraits of O'Keeffe which he first exhibited in 1923. Stieglitz especially enjoyed photographing O'Keeffe's hands and these photographs seem to emphasize the creative potential and prowess Stieglitz recognized in O'Keeffe. In the portrait of O'Keeffe wearing a derby hat, she is standing in front of her Stieglitz often had O'Keeffe pose with her paintings as seen here. Alfred Stieglitz and Georgia O'Keeffe (taken at an American Place)īeginning in the spring of 1917, Alfred Stieglitz began taking photos of the 29 year-old O'Keeffe in the "291" studio.
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