The windows of Abiquiu: views on a New American Transcendentalism in the work of Georgia O'Keeffe.
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The windows of Abiquiu: views on a New American Transcendentalism in the work of Georgia O'Keeffe.

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Università degli Studi di Milano

Università degli Studi di Milano
Giornate di Studi Dottorali
01-02 Ottobre 2013

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The windows of Abiquiu: views on a New American Transcendentalism in the work of Georgia O'Keeffe. The windows of Abiquiu: views on a New American Transcendentalism in the work of Georgia O'Keeffe. Presentation Transcript

  • GSD 01-02 Ottobre 2013 Università degli Studi di Milano Cristiana Pagliarusco Università degli Studi di Trento Le Finestre di Abiquiu: Sguardi su un Nuovo Trascendentalismo americano nell’opera di Georgia O’Keeffe
  • The Lawrence Tree, 1929. Oil on canvas, 30x 40. “I wish people were all trees and I think I could enjoy them then.” G.O’K
  • Walt Whitman The Space of Re-discovery New Mexico New York The Artist’s (Door)way The House of Fame Henry David Thoreau The Educational Ground Ralph Waldo Emerson O’Keeffe Wisconsin, Virginia, Texas, South Carolina
  • Lewis Mumford American historian, sociologist, art and literary critic (1895- 1990) O’keeffe’s painting « possesses that mysterious force, that hold upon the hidden soul which distinguishes important communications from the casual reports of the eye». New Republic, 1927
  • Wisconsin, Virginia, Texas and South Carolina: The Educational Ground
  • “I was sent away from the farm – the idea of Sun Prairie meant nothing to me – I was sent away from home.” Georgia O’Keeffe Georgia O’Keeffe’s home and birthplace, in Sun Prairie, Wisconsin
  • Alon Bement Art Teacher at Columbia University 1912 ‘He had an idea that interested me. […] - The idea of filling a space in a beautiful way. Where you have the windows and door in a house. How you adddress a letter and put on a stamp. What shoes you choose and how you comb your hair.’ Georgia O’Keeffe
  • Starlight Night, 1917. Watercolor, 9 x 12.
  • Georgia O’Keeffe 1915 ________________________________________ ‘I decided to start anew – to strip away what I had been taught – to accept as true my own thinking. This was one of my best times of my life. […] I was alone and singularly free, working into my own, unknown – no one to satisfy but myself.’
  • Special n°2, 1915 Drawing XIII, 1915
  • Walt Whitman Song of the Open Road […] Henceforth I ask not good-fortune, I myself am good-fortune, Henceforth I whimper no more, postpone no more, need nothing, Done with indoor complaints, libraries, querulous criticisms, Strong and content I travel the open road. […] Have the past struggles succeeded? What has succeeded? yourself? your nation? Nature? Now understand me well—it is provided in the essence of things that from any fruition of success, no matter what, shall come forth something to make a greater struggle necessary. […]
  • New York and Lake George: The House of Fame
  • Georgia O’Keeffe and Alfred Stieglitz: a 30-year-long relationship (1916-1946)
  • I grew up pretty much as everybody else grows up and one day seven years ago found myself saying to myself – I can't live where I want to – I can't go where I want to go – I can't do what I want to – I can't even say what I want to... School and Things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to at least paint as I wanted to.’ Letter to Alfred Stieglitz, 1917 N°17 Special, 1919
  • Two Calla Lilies on Pink, 1928. Oil on canvas, 40 x 30.
  • In the studio of Stieglitz’s niece in New York
  • 1919-1926 «I had never lived up so high before and was so excited that I began talking about trying to paint New York. Of course, I was told it was an impossible idea – even the men hadn’t done too well with it . […] The next year Stieglitz had a small corner room at the Andreson Galleries. There were three large windows. As you entered you saw my first New York between two windows. […] My large New York was sold the first afternoon.»
  • 30th floor: O’Keeffe and Stieglitz lived here for 12 years (1925-1937) The Shelton was conceived as an all-men hotel when it opened in 1924.
  • ‘To create one's own world, in any of the arts, takes courage’ Georgia O’Keeffe 1887-1986
  • Pink Dish and Green Leaves, 1928. Oil on canvas, 31 x 40.
  • New York with Moon, 1925. Oil on canvas, 48 x 30.
  • The Shelton with Sunspots, 1926. Oil on canvas, 49 x 31.
  • Radiator Building –Night, New York, 1927. Oil on canvas, 48 x 30.
  • City Night, 1926. Oil on canvas, 48 x 30.
  • Farmhouse Window and Door, 1929. Oil on canvas, 40 x 30.
  • The Shanty The Shanty, 1922. Oil on canvas, 20 x 27.
  • Barn with Snow, 1934. Oil on canvas, 16 x 28. Lake George Barn, 1926 . Oil on canvas, 21 x 32.
  • New Mexico: The Space of Re-discovery
  • “L’arte deve germogliare da un terreno particolare e brillare dello spirito del luogo.” D.H.Lawrence
  • “Where I was born and where and how I have lived is unimportant. It is what I have done with where I have been that should be of interest.[…] “One cannot be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.” Georgia O’Keeffe
  • Cebolla Church, 1945. Oil on canvas, 20 x 36
  • O’Keeffe in her Model A Ford at Black Place,
  • “I can’t be any saint, I’d rather be an earthen goddess.” Georgia O’Keeffe
  • “It’s my private mountain. It belongs to me. God told me if I painted it enough, I could have it.” Georgia O’Keeffe Pedernal, 1941. Oil on canvas, 19 x 30.
  • Door to Patio, Abiquiu’s House, Todd Webb, 1981
  • “I found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.” Georgia O’Keeffe Door through Window, 1956. Oil on canvas.
  • The Flagpole, 1923. Oil on canvas, 35 x 18. The Flagpole with White House, 1959. Oil on canvas, 48 x 30.
  • From the kitchen window at Ghost Ranch ‘No ideas, but in things’ W.C.Williams A Black Bird with Snow-Covered Red Hills, 1946. Oil on canvas, 36 x 48.
  • From the kitchen window at Ghost Ranch “How can you tell the truth about things? – that is, how can you find a language so close to the world that the world can be represented and understood in it?” W.C.Williams Black Bird Series (in the Patio IX), 1950. Oil on canvas, 30 x 40.
  • In the Patio IV, 1948. Oil on canvas, 14 x 30 In the Patio IV, 1946. Oil on paper, 30 x 24
  • Patio with Black Door, 1955. Oil on canvas, 40 x 30
  • White Patio with Red Door, 1960. Oil on canvas, 48 x 84.
  • Sky Above Clouds, IV, 1965. –Oil on canvas, 96 x 288
  • Men and women who present us with“ The breaking of ties with family, home, class, country, and traditional beliefs as necessary stages in the achievement of spiritual and intellectual freedom, invite us to share the larger transcendental or private systems of order and value which they have adopted and invented” Edward Said Abiquiu, Studio, New Mexico
  • Georgia O’Keeffe’s portraits by John Loengard, Ghost Ranch, New Mexico, 1967
  • “Making your unknown known is the important thing - and keeping the unknown always beyond you – catching - crystalizing your simpler clearer vision of life - only to see it turn stale compared to what you vaguely feel ahead – that you must always keep working to grasp.” Georgia O’Keeffe
  • Pelvis III, 1944. oil on canvas, 48 x 40.