"GEORGIA O'KEEFFE – ART AND LETTERS" par Jack COWART, Juan HAMILTON, Sarah GREENOUGH. Editions National Gallery of Art, Washington. 1988. Fort petit in-4, dos droit, couverture souple cartonnée illustrée en couleurs (état d'usage). 310 pages. Textes en anglais illustré de 120 reproductions photographiques couleurs pleine page d'œuvres et de 4 portraits noir & blanc de l'artiste. Ouvrage réalisé dans le cadre de l'exposition itinérante "Georgia O'Keeffe: 1887-1986" : National Gallery of Art, Washington du 1er Novembre 1987 au 21 février 1988 ; The Art Institute of Chicago, du 05 Mars au 19 Juin 1988 ; Dallas Museum of Art du 31 Juillet au 16 Octobre 1988 ; The Metropolitan Museum of Art, New York, du 19 Novembre 1988  au 05 février 1989.

 

"O'Keeffe, together with her art, helped establish a relationship between the American modern movement and the pioneering European vanguard of the early twentieth century. She was a member, emotionally and professionally, of the group surrounding Alfred Stieglitz and his progressive New York galleries : 291, The Intimate Gallery, and An American Place. Other artists who were part of the Stieglitz circle (Charles Demuth, Arthur Dove, John Marin, Marsden Hartley), as well as their predecessors and successors, helped bridge the gap between American and European art. O'Keeffe drew inspiration from the avant-garde on both sides of the Atlantic but at the same time fed influence and especially the energy of her particular imagery back into the art of her time. On the one hand, she nurtured Stieglitz and he reciprocated. It was a delicate symbiosis because O'Keeffe's art was her livelihood, dependent upon sales. On the other hand, she also challenged him, giving vent to her forceful creative personality, expression, and sense of rebellion and independence. It was neither O'Keeffe's art, boxed as it has always been into a limited critical category, nor O'Keeffe the artist, but rather her personality that received the most attention over the years. We are reminded that the cumulative effect of sixty years of art criticism and exhibitions of O'Keeffe's work has resulted in an idea of the person that is larger than life. O'Keeffe herselfis at least partially responsible for this situation. As she grew older especially, O'Keeffe knew she filled a void in American art, that her images were becoming icons, and that her deportment was legendary. Events conspired to produce for the public not an informed wareness but a stark cliché, a stereotype…" Extrait de "Georgia O'Keeffe: Art and Artist par Jack Cowart.

 

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