Georgia O’Keefe
Georgia O’Keefe, a renowned American painter, created stunning paintings of flowers and landscapes. However, her unique style led many to interpret her artwork as having sexual connotations. According to Joachimides (47), O’Keefe’s depiction of flowers, presented frontally and in an enlarged scale, was unprecedented and evoked images of the female psyche, often connected with erotic associations. Despite these claims, O’Keefe refuted the allegations, stating that she merely magnified the scale of the flower to ensure people noticed them (Haskell 203). The misinterpretation of O’Keefe’s artwork can be attributed to cultural prejudice, her unconventional lifestyle, and biased art criticism based on gender. Nevertheless, it is important to note that Georgia O’Keefe’s artwork was not founded on sexuality.
Born on November 15, 1887 in Sun Prairie, Wisconsin, O’Keefe endured a challenging upbringing. Neglected and mistreated by her mother, she found solace in the unconditional love of her father. Regrettably, he also subjected her to molestation, leaving lasting scars. Despite recognizing the wrongness of these actions, O’Keefe struggled to acknowledge them as her father was the sole source of genuine affection in her life. His departure caused immense heartbreak and shaped her future relationships; she distanced herself from many men and sought companionship with homosexual male friends instead. Additionally, she rejected advances from men who attempted intimacy. Following his departure, O’Keefe was sent to live with an aunt who frequently punished her through isolation in her room and occasional physical abuse such as slapping (Hogrefe 14-15).
During her teenage years, she attended an all-girl’s boarding school where she could enhance her artistic skills through art classes. However, initially, Georgia’s mother followed the cultural norms of the late 1800s and disapproved of her daughter pursuing art as it was deemed unnecessary for a young lady.
Despite growing up in an unconventional environment, Georgia O’Keefe’s provocative artwork was often attributed to her upbringing by some critics. Nevertheless, instead of letting her difficult childhood define her, it actually made her more resilient. In school, O’Keefe’s remarkable artistic talent received praise from both teachers and fellow students, which not only boosted her self-esteem but also helped her overcome the pain she experienced during her early years.
Despite her father leaving when she was young, Georgia grew into a strong and independent person who prioritized her own identity over judgment. This upbringing fostered her feminist perspective, leading her to believe that men were not sufficient for her. Consequently, she mostly dated women and explored her sexuality. However, this aspect influenced her artwork in a non-sexual way. Instead, Georgia’s paintings showcased close-up images that encouraged viewers to deeply engage with them and establish an intimate connection. She desired emotional closeness but feared being hurt again. It is noteworthy that Georgia’s alternative lifestyle affected her life but did not push her towards creating sexually explicit depictions of women. According to Peters (29), it might be more accurate to interpret these drawings as representations of a deeper perception of reality rather than literal depictions. Georgia grew up in a time when society disregarded women and confined them to domestic roles.
Until they were married, they lacked self-worth. Consequently, when women began obtaining jobs similar to their husbands or living their lives without a spouse, society was astonished and often looked down upon them. Georgia, on the other hand, defied tradition in this aspect. She remained unwed until later in her life and withdrew from social interactions as much as possible (Hogrefe 15). Georgia consistently engaged in drawing and painting, finding contentment in solitude and embracing her true self. However, everything changed when she visited a gallery and discovered Alfred Stieglitz’s artwork, which resonated with her own. Meeting him soon after, Georgia’s closed heart was opened. Alfred appreciated the beauty in her body and took numerous nude photographs of her while they were together (Eisler 53).
Critics were amazed and subsequently criticized Georgia’s work, citing its sexual nature due to Alfred’s promotion of her body. “He had introduced her to the public through photographs, many of which were intensely erotic, and then transferred this sexual identity to her paintings”. (The American Century Art and Culture 203) Additionally, many individuals scorned her because Alfred and Georgia cohabitated without being married. This deviated from societal norms of the time, amplifying the critique of her artwork. Critics believed that her unique lifestyle reflected in her artwork, deeming it disgraceful. However, her artwork was “not only inherently American but also clearly emanated from a female sensibility, devoid of any sexual connotations.” (Hughes 393) Apart from her unconventional lifestyle and cultural biases, Georgia O’Keefe’s artwork was also misinterpreted due to gender-biased art criticism.
The male art critics who criticized Georgia’s art were the only ones taken seriously in society. Women were not given the same societal standing to critique art and be heard. These critics believed that a woman with unique perspectives and distinct ideas about expressing her vision through art should not encroach upon the realm reserved exclusively for men. Despite Georgia’s denial that her work was based on sexuality, these male critics tore her apart. However, they were not the only ones who found her artwork problematic. Even her husband believed that Georgia’s art portrayed sexual imagery. He described it as “the embodiment of femininity – representing Nature and Womb…her art exposes the intimate moments of love, devoid of any shame or impurity felt by lovers during their union.” (Haskell 203) While her work was pure, beautiful, and evoked strong emotions, it was not as sexually explicit and vulgar as some critics claimed. The severe criticism she received was primarily due to her being a woman, a true minority in the art world at that time.
According to Hughes (391), O’Keefe was known for being a fiercely independent artist, and everything she created was considered out of the ordinary by her own definition. She didn’t tolerate any suggestion from male chauvinist pigs that her work lacked quality. After receiving criticism for her artwork being too sexual and provocative, O’Keefe firmly denied these claims. She believed that her creations were simply her own interpretations of flowers, landscapes, and other subjects, and she hoped that her paintings would evoke the same emotions in others as they did in her (Rubinstein 207). O’Keefe painted what she felt, with no hidden perverted meanings. Although her artwork was often misinterpreted, it was not meant to be sexual.
Critics believed that O’Keefe’s paintings contained a sexual undertone. They based their criticism on O’Keefe’s unconventional lifestyle, gender, and various other aspects. However, the true significance of the artwork lies not in the opinion of an arrogant art critic, but in the artist’s own interpretation and intended impact on her audience. Georgia herself clarifies her works by stating that a flower, though seemingly insignificant, often goes unnoticed by many individuals . . .
In order to capture people’s attention, I decided to paint what I witnessed, but in a larger scale so that it would catch them off guard and encourage them to truly observe it.
The author expresses frustration with others who projected their own associations onto Georgia O’Keefe’s flower artwork, assuming that her perspective was the same as theirs. However, the only opinion that truly matters in this situation is that of the creator herself. Georgia saw her flowers as small and beautiful wonders that she wanted to share with the world. Unfortunately, instead of appreciating them for what they truly were, people transformed them into something obscene. It is important to trust Georgia’s own interpretation of her artwork, as she has a strong sense of self and is unashamed of her life experiences. If there were hidden sexual meanings behind her flowers, she would have no reason to keep them secret. Georgia lived her life openly and therefore has nothing to lose by revealing the true meaning behind her art. While her artwork may have been different, daring, and fresh, it was not sexual in nature.
ANNOTATED BIBLIOGRAPHY
Eisler, Benita. O’Keeffe and Stieglitz: An American Romance. New York: Double Day, 1991.
This book explores the connection between Georgia O’Keeffe and her husband, Alfred Stieglitz, and how they influenced each other’s careers in art. Despite being 24 years younger than Stieglitz, their meeting had a profound positive impact on both of their lives. Stieglitz went to great lengths to promote O’Keeffe’s paintings and became an exceptional dealer for her. Additionally, the book delves into O’Keeffe’s romantic relationships, including those with both men and women. One fascinating aspect highlighted in this book is the complex relationship quartet involving Stieglitz, O’Keeffe, Paul Strand (Stieglitz’s protégé), and Rebecca Strand (Paul Strand’s estranged wife) before O’Keeffe and Stieglitz became involved with each other.
The book reveals that O’Keeffe’s art greatly influenced Harlem Renaissance artists such as Eugene O’Neill and James Joyce. Additionally, O’Keeffe had romantic relationships with artists from the Harlem Renaissance era, like Sherwood Anderson and Hart Crane. The book also discusses her impact on the women’s art movement during this time, highlighting how her determination and confidence in her gender allowed her art to thrive despite criticism. (Grubb, Nancy. Making Their Mark: Women Artists Move Into the Mainstream, 1970-85. New York: Abbeville Press, 1989.)
To gain a deep appreciation for Georgia’s talent, it is crucial to experience her artworks up close and personal. While this book may not provide extensive information about Georgia herself, it showcases numerous famous works through large, colorful photographs. Not only are paintings like “Jack and the Pulpit” and “Morning Glory with Black” exhibited, but also the works of other artists who were influenced by Georgia, including Mary Lucier and Jennifer Bartlett, are featured.
The book “O’Keeffe: The Life of an American Legend” by Jeffrey Hogrefe was published in 1992 by Bantam Books in New York.
This book provides a comprehensive account of Georgia O’Keeffe’s life, both as an artist and before she fully embraced her artistic calling. It delves into the various criticisms her art faced over the course of her career, particularly focusing on the sexual undertones associated with her flower paintings. The author also explores Georgia’s relationship with her husband, Alfred Stieglitz, examining how they influenced each other’s artistic journeys. In addition to contributing to Stieglitz’s photographic career, Georgia played a pivotal role in shaping his ideas and became an integral part of his work.
Georgia’s artistic style and technique were distinct, as she mainly focused on outdoor landscapes and objects. This book delves into her unique style and technique, which heavily relied on peculiar angles and perspectives. Notably, her paintings of flowers featured extreme close ups. According to her, only by closely observing a flower could one truly capture its essence and achieve a more personal and intimate effect. Indeed, examining a seemingly ordinary flower up close reveals the immense complexity that renders it remarkably beautiful.
Robinson, Roxana. Georgia O’Keeffe: A Life. New York: Harper & Row Publishers, 1989.
This book provides a comprehensive account of Georgia’s life, including personal quotes from her about her work and the criticism it faced. These quotes particularly caught my attention as they revealed Georgia’s strong opinions on her art and her indifference towards art critics’ opinions. Notably, during the peak of her career, art criticism was predominantly dominated by men, emphasizing the significant influence of male chauvinism on the critique she received. Moreover, the book delves into how Georgia’s constant relocations across different parts of America – Wisconsin, New Mexico, Arizona, California, and New York – influenced and shaped her artistic style to reflect the essence of each new location.
