Georgia O’Keeffe’s unrecognized role as patron and collector


Marsden Hartley was another artist O’Keeffe deeply admired, and she once wrote that her work was akin to “a marching band in a little closet.” Both were deeply influenced by their local landscape and sense of place, sharing an appreciation for regions outside of major cities and portraying the sublime in styles that resonated emotionally and formally as opposed to realistic and demanding.

The story’s reliance on a clear, easily digestible narrative of Stieglitz as a focal point of the modernist art world is partly to blame for O’Keeffe’s lack of recognition. Stieglitz himself was a strong advocate for her, and their relationship was based on a sense of mutual respect. When he saw his works for the first time, he exclaimed: “Finally, a woman on paper! In his role as curator and dealer, Stieglitz lobbied for collectors and curators to give O’Keeffe and his work the same respect as other modern masters, all male, who demanded space on the walls. from 291. He has never hesitated to express his admiration for O’Keeffe, in letters filled with purple prose and sentiment that describe a man desperately in love. To illustrate this point, Reynolda’s wall text begins with an epigraph by Stieglitz: “She is the Spirit of 291, not I.” Stieglitz would echo this sentiment at An American Place, writing in a 1934 letter: “La place comes first – and Georgia has room.

The second room of “The O’Keeffe Circle” focuses on the artist’s personal collection, highlighting the art with which she herself has lived and informing her acquisition process; above all, it seems that she cherished simplicity. Reynolda specifically highlights a painting by Arthur Dove, Dancing (1934), and works by the Japanese artist, who influenced his style much more than the European modernists who won over his peers. The exhibition also presents a akari paper lantern, modeled on that offered to the artist by. This lamp was one of the only sources of light in O’Keeffe’s house, aside from its floor-to-ceiling windows – you can imagine the vibe once the gallery lights are dimmed. O’Keeffe also owned a large mobile, a crown jewel that often appears in the background of artists’ portraits.

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