A National Gallery of Art Publication Georgia O'Keeffe (1887-1986), one of the most innovative and renowned of all American artists, made works on paper throughout her long career. More than 50 of her most stunning watercolors, charcoals, and pastels are presented in this volume, the catalogue of an exhibition that opens in April 2000 at the National Gallery of Art, Washington, and travels in July to the Georgia O'Keeffe Museum, Santa Fe.
Images dating from 1915 through 1962 reveal O'Keeffe's unique imagination and technical virtuosity and chart the development of her personal abstract vision. Essays by well-known scholars address the significance of the works on paper to O'Keeffe's art as a whole; examine the importance of her choice of materials in the development of her aesthetic; and place O'Keeffe's works on paper in the context of her American modernist contemporaries. 80 illustrations, 60 in full color, 192 pages, 81_4 x 103_4" RUTH E. FINE is curator of modern prints and drawings at the National Gallery of Art, Washington. ELIZABETH GLASSMAN is president emerita of The Georgia O'Keeffe Foundation.
BARBARA BUHLER LYNES is curator of the Georgia O'Keeffe Museum and Emily Fisher Landau Director of the Georgia O'Keeffe Museum Research Center, Santa Fe. JUDITH WALSH is senior paper conservator at the National Gallery of Art.
80 illustrations, 60 in full color, 8 1/4 x 10 3/4"
EXHIBITION SCHEDULE National Gallery of Art, Washington, D.C.Apr. 9-July 9, 2000 Georgia O'Keeffe Museum, Santa FeJuly 25-Nov. 9, 2000
The world knows Georgia O'Keeffe for her monumental paintings of flowers, shells, and sun-drenched New Mexico landscapes. She also worked on a smaller scale in watercolor, pastels, and charcoal, experimenting with themes and ideas. Fifty-five of her drawings are illustrated in O'Keeffe on Paper, which accompanies an exhibition organized by the National Gallery of Art in Washington and the O'Keeffe Museum in Santa Fe. The images work on several levels: viewing what at first seem brightly colored, jewel-like abstractions, with titles such as Pond in the Woods and Portrait of Paul Strand, we suddenly become aware of more complex, realistic forms. Witty and accessible, O'Keeffe's drawings remind us to recognize significance and beauty in our daily surroundings. The book's supporting essays are well written and useful. The first, which places O'Keeffe in the context of her teachers and colleagues, is an excellent survey of the early-20th-century American avant-garde; the second explores the evolution of O'Keeffe's ideas, developing her youthful question, "If one can only reproduce nature, and always with less beauty than the original, why paint at all?" The final essay is a detailed analysis of the materials she used. An extra dimension is given by photographs of O'Keeffe at work and some illuminating pictures by artists who influenced her. Reflecting a statement by the critic John Canaday quoted early in the book--"In a drawing artists give us at full strength, but with minimum elaboration, the essence of whatever they have to say"--the images in O'Keeffe on Paper are deceptively simple but very satisfying. --John Stevenson
