Georgia OKeefe Black Iris Analysis

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

Close observations of O'Keeffe's flowers show that she never really pursued the realistic approach. She didn't paint every petal and detail. Instead she gave her flowers a life of their own, and expression that changed significantly

The question of “why feminism?” has been presented to a number of female artists who deal with strong constructions of gender in their work. The answer, overwhelmingly, has been the desire to modify stereotypes about women that have prevailed in male-dominated art history. In the 1960’s, women who explored “feminist” issues in their art were criticized, causing mass mobilization and conscious raising as to what, exactly, was the purpose of feminist art (Crowell, 1991). Since that time, women have been trying desperately to overturn the art world and rescind the traditional stereotypes and images that have plagued them. Feminist artists created somewhat of a unified front during that

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.

“Art is the most intense mode of individualism that the world has known.” -Oscar Wilde. Women are wild, sensitive, magnificent, mysterious, and above all: individual. Art’s many different medias allowed artist throughout the ages to capture women at both their strongest and most vulnerable points. It has the power to capture a woman: as a naïve, young girl clutching her brother as they are painted into a lasting portrait, a golden statue of an angel sent down to Earth to help a saved man take his first steps into an eternal life with God, to the powerful goddess, Artemis, transforming a hunter into a deer and having his hunting dogs tragically attack him. The six pieces of art chosen express the individuality of each women who has walked, walks, and will walk the earth.

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

Georgia O’Keefe is a famous American painter who painted beautiful flowers and landscapes. But she painted these images in such a way that many people believed she was portraying sexual imagery. “O’Keefe’s depictions of flowers in strict frontality and enlarged to giant scale were entirely original in character . . . the view into the open blossoms evoked an image of the female psyche and invited erotic associations.” (Joachimides 47) O’Keefe denies these allegations and says that she “magnified the scale of the flower only to ensure people would notice them.” (Haskell 203) O’Keefe’s artwork was misinterpreted because of cultural prejudice, her non-traditional lifestyle, and

In the painting "Irises" Van Gogh portrayed the part of the field, very often dotted with flowers. Here we see not only the iris, which gave the name of a masterpiece, but also other colors. Of course, the irises are central to the composition. There is no background, but warm soft shades of the earth depicted blurred stripes and a warming glow beds of flowers. That glow enters with a picture of the outside world and gives it visibility and tenderness. Using different shades of green, yellow and purple colors, he creates a real rhythm of lines properly attached in drawing completeness. Rich and gentle at the same time

Similarly, Plath’s poem ‘Edge’ illustrates how patriarchy seizes the identity of woman, leaving them to be nothing but sexual entities. ‘The woman has been perfected’, society has shaped her into being socially and sexually pleasing. She has been moulded, making her ‘perfect’ to the naked eye, a ‘flower’, a ‘rose’, a ‘Greek necessity’ with no identity. In the second stanza the speaker states that the ‘body wears the smile of accomplishment’ she is now socially accepted.

The fact that O’Keefe is famous and there would be more information about her in books is also one of the main reasons I selected her as the artist to work on. I chose to do my project on flowers and not other subjects she is known for painting such as landscapes and bones because I was inspired by the brush strokes she used to create the details of flowers in her paintings. In addition, I like the bright colors she used to paint in. The media that I chose to use was oil paint. Since I have never used oil paint, I wanted to try using a different media before this school year

Alfred Stieglitz, her future husband, identified her as the first female American modernist and she has also been recognized as the "Mother of American modernism" for her amazing abstract paintings of the natural world and the emotional impressions they invoked in their viewers. While O'Keeffe has created many breathtaking artworks in her day, there are few still lifes that I find even greater than the rest and I shall tell you why. I love her artwork, Red Canna, because of how its warm colors blend together and also how the complementary colors seem to feed into each other, making them brighter and better. It's impressive how she blends the colors and captures the details of each flower in Jimson Weed and while Black Place II is a bit more abstract than I usually like paintings to be, the thing that makes me love it is both how beautifully the colors contrast against each other and how it makes the viewers feel. I enjoy how she's added subtle, radiant highlights to flowers and how the radial gradient is so gentle in her still life, Petunias. Blue Morning Glories is also a favorite because of how precise and sharply defined the flowers are and how the colors are used to make it, even more, enchanting. Georgia O'Keefe was one of the only artists who stayed true to her art form, and her abstract works were so different than what other artists were doing at the time that even today, her work is still talked about with

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.

In the Symposium on that night, Socrates’ speech is one of the most important of the night as he is clearly a central figure, admired by the other guests. Socrates begins by presenting his argument that if love is nothing, then it is of something, and if it is of something, then it is of something that is desired, and therefore of something that is not already possessed, which is then usually beautiful and good. Human beings begin by loving physical beauty in another person, then progress to love of intellect and from that level to see the connection among people and ultimately, the lover of beauty enjoys a kind of revelation or vision of universal beauty, which we find ourselves in the pursuit of during our own study of Plato’s work. The

There is some disparity between the way critics and philosophers like Judith Butler view Cindy Sherman's work and the way that Cindy Sherman speaks of her photographs. It may be the disparity that exists between many modern artists, who often operate on an intuitive level, and the philosopher critics who comment upon them from a theoretical perspective or a pre-established framework. On one level, Cindy Sherman may only be playing "dress-up" (as she herself admits) in her famous History Portraits (1989-90) (Berne, 2003). On another level, however, her "dressing-up" may be indicative of a deeper problem in modern gender identity theory which is the problem of "becoming" woman (Butler, 1994) or, as Judith Butler sees it, the problem of performativity. In the History Portraits, Sherman may certainly be said to be "performing" and perhaps even attempting to "become" the male and female characters she represents in her work. Indeed, it is upon such a premise that philosopher critics and gender theorists find her work so engaging. This paper will examine Cindy Sherman and her History Portraits in relation to Judith Butler's gender theory, the portrayal of the self, and how gender identity has changed throughout the course of modern history. It will examine representations of womanhood from Romantic Idealism to Post-Modernism and will also

In his poem, “But love whilst that thou mayst be loved again”, he focuses on warning women to find love soon because beauty will not last with age. He compares a woman’s beauty to a flower: “the fairest flower that ever saw the light / men do not weigh the stalk for what it was / when they find her flower, her glory, pass” (Daniel 6, 13-14). Through this metaphor, he shows how men view beauty in love. No one looks at a dead flower and thinks about what it used to be, rather, he or she looks towards other flowers that bloom with life and colour. This sonnet begins as an admiration for his subject’s beauty, but it ends by telling the subject that when her physical beauty deteriorates, no one will love her. This poem reflects society’s fixation on superficial beauty because it reminds women that they will never find love without external beauty, as a result of the superficiality of men in society. Both poems of the Renaissance Period assert the idea of perfection and the importance of physical beauty in love and relationships.