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..About my work Howard – I always have two opinions – one is my way of seeing it for myself – and for myself I am never satisfied – never really – I … - Georgia O'Keeffe
" "..About my work Howard – I always have two opinions – one is my way of seeing it for myself – and for myself I am never satisfied – never really – I almost always fail – always I think – now next time I can do it – Maybe that is part of what keeps one working – I can also look at myself – by that I mean my work from the point of view of the looking public – and that is the way I look at it when I think of showing. I have always first had a show for myself – and made up my mind – then after that it doesn't matter to me very much what anyone else say – good or bad.
English
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About Georgia O'Keeffe
Georgia Totto O'Keeffe (15 November 1887 – 6 March 1986) was an American modernist painter. She was known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been called the "Mother of American modernism". O'Keeffe is a major figure in American art. She is chiefly known for paintings in which she synthesizes abstraction and representation in paintings of flowers, rocks, shells, animal bones and landscapes. Her paintings present crisply contoured forms that are replete with subtle tonal transitions of varying colors, and she often transformed her subject matter into powerful abstract images.
Also Known As
Pen Names:
Okeef, Georgia
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Okeefe, Georgia
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O'Keeffe, Georgia Totto
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Stieglitz, Georgia O'Keeffe
Alternative Names:
Mrs. Alfred Stieglitz
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Georgia O'Keeffe Stieglitz
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Alfred, Mrs. Stieglitz
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Georgia Totto O'Keeffe
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Georgia O' Keeffe
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Georgia Stieglitz
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O'Keeffe
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Georgia O’Keeffe
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Additional quotes by Georgia O'Keeffe
Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a.o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another.. .Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?' All those entire words piled on top of that poor little mountain seemed too much.
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Anita, I have just come the comforting conclusion that I'll have to paint acres and acres of water color landscapes before I will look for even a passably fair one. After about ten attempts — I certainly have to laugh at myself — It's like feeling around in the dark — thought I knew what I was going to try to do but I find I don't — and guess I'll only find out by slaving away at it. I feel — like a wreck — Have been working like mad all day — and you know how deliciously disgusted with every thing one can be — when the sun begins to go down — and one has been working ones head off all day. It gives me the sensation I used to have when I was a youngster and was going away from home on the train — It is a very special sort of sick feeling.
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