Georgia O'Keeffe was a 20th century American painter known for her large-scale paintings of flowers and southwestern landscapes. She began painting flowers at close range after moving to New York in 1914 and assimilating modernist principles. O'Keeffe spent much of her time in New Mexico, where she created imagery synonymous with the American Southwest. Her best known works show colorful, fresh, and sensual flower paintings on a large scale.
Minimalism Art Movement - Art Appreciation
A brief overview of the art movement that took place in New York, early 1960s. This movement is apparently a blatant rejection of abstract expressionism.
Minimalism Art Movement - Art Appreciation
A brief overview of the art movement that took place in New York, early 1960s. This movement is apparently a blatant rejection of abstract expressionism.
The intricate design of bobbin and needle lace produced by coastal village women of Brazil's Northeast. Renaissance lace from inland villages, an ancient art brought by Portuguese colonizers
Long before Georgia O’Keeffe started painting flowers or the great landscapes of the Southwest, she explored total abstraction and monochrome palate beginning in 1912. She delved deep into the world of Zen Buddhist inspired art making to get to the very essence of thing, not an imitation, but the TRUTH...the Zen way of seeing the world...
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxgalerussel59292
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxjack60216
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
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2. Georgia O'Keeffe is a 20th
century American painter
best known for her flower
canvases and southwestern
landscapes. A pioneer of
Modern Art, Georgia
O'Keeffe created large-scale
paintings of natural forms
and flowers at close range.
She began to spend much of
her time in New Mexico and
created imagery
synonymous with the
American Southwest.
4. Moving to New York in 1914, Georgia O'Keeffe was quick to assimilate the
principles of European modernism
5. “If I could paint the
flower exactly as I
see it no one would
see what I see
because I would
paint it small like the
flower is small. So I
said to myself - I'll
paint what I see -
what the flower is to
me but I'll paint it big
and they will be
surprised into taking
time to look at it - I
will make even busy
New Yorkers take
time to see what I see
of flowers.”
6. In 1918 she moved to
Manhattan, with the
support of Stieglitz, who
became her husband
8. Her best known works show
very colorful fresh, and
sensual flowers
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In 1946, after her husband’s death, O’Keeffe left to live alone at
Ghost Ranch, in the middle of an indian reservation in Nouveau-
Mexique desert . She died at 99 in Santa Fé.