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O’Keeffe & Stieglitz Photography and Early American Modernism

O’Keeffe & Stieglitz Photography and Early American Modernism

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  • OKeeffe & StieglitzPhotography and Early American Modernism

  • Alfred StieglitzStieglitz begins as one of the Pictorialist leaders in AmericaBy the beginning of the 20th century converts to support Strait Photography.He was instrumental in opening the doors to America for the avant-garde. He Published a magazine ( Camera works,1903-17).He also ran his own gallery ( Gallery 291, 1905-17) which showcased works by modern artists (i.e. Picasso, Matisse, & Cezanne) in America for the first time.Stieglitz arranged exhibits of O'Keeffe's works, helped sell her works.

  • The Asphalt Paver, 1892/1913Pictorialism - A style of soft focus photograph, originating in Europe, which attempts to imitate painting.

  • In the New York Central Yards 1907

  • Monet, Saint-Lazare Train Station 1877Pictorialism attempted to be accepted as an art form by trying to look like the accepted gallery styles like Impressionism.

  • September 1905

  • Haystack at Sunset 1891

  • The Steerage, 1907Strait PhotographyResulting from a call to "let photographs look like photographs," it was the first distinctly American style. Unlike Pictorialism it contains sharp focus, detail, and carefully planed compositions.

  • The Steerage, 1907One of Stieglitzs hallmark photographs, The Steerage (1915), produces a very different effect. This is a photograph of working class people crowding two decks of a transatlantic steamer. The subjects are in sharp focus and the composition is inclined toward geometric elements.

  • Georgia OKeeffe, 1933

  • Georgia OKeeffeHer relationship with Stieglitz started out as an affair, but they eventually married.Stieglitz took over 300 photos of OKeeffe.She established her reputation at 291, after America was introduced to the avant-garde at the famous 1913 Armory Show.

  • Georgia OKeeffeAt this time in America her work was considered by the establishment controversial & shocking.Eventually modern works like these in America became the new establishment, and N.Y would become the new center of the art world after Paris.

  • Black Iris, 1926Forms are always from nature no matter how distorted.Swooping forms of petals and stamen fill the entire canvas.

  • Black Iris, 1926Size heightens the importance of the otherwise traditional subject.Influenced by close-up photography.

  • Oriental Poppies, 1927

  • The compositions contain bold line, pure colour, and subtle tone.Images like these take on the power and scope of a landscape.

  • Jack-in-the-Pulpit Series, 1930In 1930, Georgia O'Keeffe painted a series of six canvases depicting a jack-in-the-pulpit. The series begins with the striped and hooded bloom rendered with a botanist's care in naturalistic detail.It continues with successively more abstract and tightly focused depictions, and ends with the essence of the jack-in-the-pulpit.In this image a haloed black pistil stands alone against a black, purple, and gray field.

  • Jack-in-the-Pulpit, No.IV, 1930This work represents a midpoint in this process of concurrently increasing detail and abstraction.O'Keeffe consistently found her strongest inspiration in nature. She believed that the essence of nature could be discovered in and through the refinement of form.

  • Jack-in-the-Pulpit, No. IV, 1930In the jack-in-the-pulpits, abstraction becomes a metaphor of, and an equivalent for, knowledge.The closest view of the flower yields an abstract image.The most profound knowledge of the subject reveals its abstract form.

  • Her series was influenced by the European artist, Mondrians series of trees that contain a continuous evolution into abstraction.