When she started out to learn art close to 1907, the The united states art world was totally conservative in outlooks and also the revolutionary modern movements growing in value abroad had been nonetheless unknown here. The must make a living pushed O'Keeffe into commercial art first, then into her teaching positions. Her creative career started with a strong sense of self-revelation as soon as she determined to use her work to express feelings as well as other elements that might be mentioned in no other way than with color and shapes. Her subjects had been things that she had no words for, and her art had to express them directly and succinctly (Goodrich & Bry 7-9).
Georgia O'Keeffe describes her art thus: "Filling a space inside a beautiful way. Which is what art approaches to me" (Kotz 37). It has also been noted that her real power as an artist has been hidden behind a series of popular images which are propounded to explain her. In her younger days, she was called Stieglitz's wife and model, and his composite portrait of her--some five hundred candid shots--influenced the art of photography to a good extent. Journalists with a Freudian mind pictured her as the woman who painted sexy pictures of flowers, but they were writers with small knowledge of art. The moved to New Mexico in the Thirties, and mainly because that time her pictures of deserts and bones had been coupled within the public mind with legends of her potential at killin
The landscape serves as her actual subject matters and the human type is noticeable by its absence. O'Keeffe is dealing in the mirror of nature inside her individual mind, and this is what gives her imagery its seemingly surrealistic quality--the truth that it derives completely inside the perceptions from the artist and not from some outside school or movement. She is original in that she paints what she sees and tries to express her individual inner view inside the only way she can. In her turn, she influenced other painters. She did not have disciples as such, but her works have been influential on the new generation of artists, just like this kind of painters as Ellsworth Kelly, Larry Poons, Kenneth Noland, and Paul Feeley (Kahne 87).
"Cowl's Skull--Red,, White and Blue" shows its American origins incredibly clearly. The abstraction on the background has the look and the texture of a flags as well as the colors with the American flag are utilized to enhance this sensation. Of course, people colors and the form with the flag are abstracted but the intent is clearly to draw forth American sentiment and identifications.
Critical opinion takes strong note with the truth that no matter how abstract the work of Georgia O'Keeffe is over a surface, there remains a powerful sense of "the smell and forms of the land" (Newsweek 105). The influence of European forms has also been noted, while during the first O'Keeffe, even though showing a strong grasp of what was happening in Europe, never aligned herself having a specific style, be it foreign or American. What she reflected was the advanced art of her time, and this remained actual throughout her career. She would later assimilate this sort of formal innovations as abstraction and flattened spaces, but she would reject the radical theories in the avant-garde in her determination to build out of her distinctively American experience. Other American artists of her time adopted particular superficial Cubist devices like a methods of modernizing their basically realist approach.
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