Georgia O Keeefe

Georgia o'keeffe’s series of the Jack in The Pulpit contains several paintings depicting a specific type of bloom, including her “Jack In The Pulpit NO.4.” The first impression of this piece is that it is an abstract form of art, however this is not the case because it is representing a specific type of flower. This gives the piece a very specific subject that is being depicted. This is easier to identify once the Jack in The Pulpit no4 is placed back within the context of the series of painting that O’Keeffe painted using this flower as the subject, showing the importance of understanding context when looking at art historically instead of simple appreciation. The painting also appears to be idealized as O’Keeffe began with a view of the

quote from her about her work, "Mine is a quiet exploration— a quest for new meanings in color,

Georgia O'Keeffe is one of the most influential artists there is today. Her works are valued highly and are quite beautiful and unique. As a prominent

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

Diego Rivera’s “Portrait of Marevna” was the first painting seen. This painting was a form of cubism and had many different colors, all more dark colors, forming into a person. If a family is waiting for their child while they undergo surgery, they will most likely be stressed out, and seeing darker colors in the painting can make them feel worse. Dark colors, like the black in this painting, can provoke evil and mystery, as that is what darker colors symbolize. Dark colors are not the most appropriate choice of colors one would want to donate to a Children’s Hospital, as families would want brighter colors to make them happier, since brighter colors are known to uplift people. Georgia O'Keeffe’s “Blue and Green Music” was also a beautiful painting. This painting was full of blue, green, and black colors all throughout the painting. This choice was not as

Georgia O’Keeffe was born to the parents of Francis Calyxtus O’Keeffe and Ida (Totto) O’Keeffe on November 15, 1887 near Wisconsin. Georgia was the second oldest child and by the age of ten she knew she wanted to become an artist someday. Her first aspiration was doing abstracts. She was selective about what she painted, but often times she would paint to please others and not herself. Her paintings were thought of as sexual paintings because of the way they were drawn and painted in which she would say is one’s own opinion. Georgia O’Keeffe was best known for her flower canvas and southwestern landscapes. Her husband who is a famous photographer by the name of Alfred Stieglitz used to paint nice portraits of her. She was very fond of him, they both liked what each other did as far as how they were making ends meet, and he just didn’t want her to sell any of her paintings. He would often times tell people “No” so they wouldn’t buy any of her paintings because he wanted them all to himself. She had an interest in nature and used bright colors in her paintings.

Georgia O’Keefe was born November 15, 1887 where she was the second child out of seven in her family. She spent most of her time growing up on a farm in Sun Prairie, Wisconsin. O’Keeffe when to an art institute in Chicago and New York wear she learned the lifestyle of realist painting. O’Keefe started mailing some of her drawings to a friend that lived in New York but her friends saw the talent that O’Keefe had and sent them to a guy named Alfred Stieglitz (art dealer) where he would soon become O’Keefe’s husband. In 1915 Georgia O’Keeffe taught art school in South Carolina and in Texas. At this time O’Keefe was trying to figure herself out on what kind of artist she wanted to be which led her to charcoal drawing. O’Keeffe’s charcoal drawings made her one of the first

Though another way one can embrace their individual identities is by expressing themselves onto art. An example is the artist, Georgia O’Keefe, who was an American Modernist. During the early years of the nineteenth century Freudian ideas caused what could considered a sexually revolution. The ideas of repression made some women change their thought. In Black Iris III Georgia O’Keefe represents these ideas and at the same time embraces her individual identity not only as an artist but as a woman. The painting is a close up of a black iris. The flower itself takes up the entire painting

She was born March 3rd, 1925. O’Connor was raised by two very Catholic parents in Savanna, Georgia. Her father, Edward Francis O’Connor, worked as a real estate agent and was a World War II veteran. O’Connors mother, Regina Lucille O’Connor, was a very social woman and a stay at home mother. O’Connor was the only child of Edward and Regina, and was always a different type of girl. She was that type of girl who would always be alone on the playground during recess, talking to herself. She didn't have many friends, her only “friends” were her chickens, who she would knit clothes for. She had an interest of fowls, especially with oddities.

When she began creating beautiful artwork in school and was being commended by other teachers and students, she gained an incredible sense of self worth and put her painful childhood in the back of her mind. (19) She grew up to be a very strong, independent person and she did not care if she was judged, as long as she liked who she was. As a result of her father leaving when she was young, she felt that males were not good enough for her and she developed a strong sense of feminism. In fact, for awhile, Georgia explored her sexuality and dated predominantly women for a significant part of her life. This factor did effect her painting, but not in a sexual way. She painted images that were ‘close ups’, allowing you to see deep into them and to be close to them. She yearned to be close to someone but was afraid to be hurt again. Georgia’s non-traditional lifestyle did affect her life, but did not force her to create sexual female images. “It may be more accurate to read her drawings as intimations of a less literal and more profound view of reality.” (Peters 29)

Born on March 26, 1930, in El Paso, Texas, to Harry and Ida Mae Day, O’Connor was raised on her family’s cattle ranch in Arizona, the Lazy B (biography.com). While she was young, her family did not have access to electricity, so O’Connor grew up branding cattle, and fixing anything broken by hand. By the age of four, O’Connor had already learned how to read, and her parents were desperate for her to one day move out of the remote location in which they lived, so that she could get the best education possible. Harry and Ida Mae sent her back to El Paso to live with her grandmother, where she would spend her school years, then summers back on the Lazy B. While in El Paso, she attended Radford School for Girls, and Austin High until she graduated

Mary Cassatt is known world-wide for her impressing art in which she focuses mainly in the everyday life of women and children. She is an American artist born in Pennsylvania on May 22, 1844, but later relocates to Europe in 1866 to pursue to work in art. This was mainly due to her family’s and society’s objections to women in the field of art. There she met and befriended famous Impressionist Edgar Degas. Because of her close friendship with Degas, she grew courage to continue to do art in her own way. She continued to paint until she slowly began to lose her eyesight and later died in 1926. Cassatt was part of the Impressionist style movement, in which she painted portraits unlike many others who painted landscapes (biography.com). Her artwork

At first glance, the similarities between Vincent van Gogh and Georgia O’Keeffe appear minimal at best. A young van Gogh died penniless and largely unknown in a remote backwater in the south of France, while O’Keeffe lived out a long and illustrious life as one of the most famous artists of the early twentieth century. Where O’Keeffe was the object of admiration and fascination, van Gogh was the object of pity and derision. Where O’Keeffe was heralded in her lifetime for capturing the spirit of the desert landscapes of her beloved New Mexico, van Gogh was a was a man without a country, driven by destitution and illness to wander Europe in search of peace and some measure of stability. Despite their differences, however, O’Keeffe and van Gogh share vital similarities. Both van Gogh and O’Keeffe used art to advocate for the inclusion of the disenfranchised and the forgotten (namely, the poor and the ill in van Gogh’s oeuvre and women in O’Keeffe’s); both revolutionized how the natural world is seen; both are characterized by aesthetic styles which are highly sensory and sensual, representing psychological and physical states in such groundbreaking ways that they change the modern world’s understanding of what it means to be human.

Through out the Great Depression there were many photographers, but one of the best was Dorothea Lange. Lange was born on the 25th of May in 1895 in Hoboken, New Jersey as the first child of Joan and Henry Nutzhorn. She decided to become a photographer at the age of 18. She studied photography at Columbia University in New York. At the age of 20 she began to travel the world. Later in life she settled down in San Francisco, California, where she met her first husband, artist Maynard Dixon. She had had to children Daniel (1925) and John (1928). She died on the 11th of October in 1916. Even Though some people believe Dorothea Lange was not a great photographer, Dorothea was because she caused great inspiration of those going through the hard

Eileen Gray spent most of her designing life in France and was influenced greatly by a veriety of designers and architects. She found her self indulged in the art of Toulouse-Lautrec, Cezanne, Van Gogh, Gaughin, Seurat, and Bonnaard. Eileen Gray admired Le Corbusier’s Five Points