“Stieglitz was quite impressed with the charcoals that Politzer showed him,” writes Griffin. Stieglitz was then a prominent figure in New York society, responsible for shaping both the look of American photography and the North American take on European modern art, and he played a huge part in O’Keeffe’s early success. “In autumn 1915, O’Keeffe sent a group of her charcoals to a friend in New York, Anita Pollitzer, who showed them to Alfred Stieglitz,” writes Griffin. Here’s how the O’Keeffe scholar and author Randall Griffin describes their relationship in our Phaidon Focus book dedicated to the artist. A clue might lie in the works of her husband, the prominent US photographer Alfred Stieglitz, which hang beside many of O’Keeffe’s paintings in the new show.Īlfred Stieglitz in 1902 by Gertrude Käsebier Where does this sexual viewpoint come from. “She was interested in form, design and beauty.” “She’s a very passionate woman, but she’s also a highly intelligent woman,” the Tate curator Tanya Barsons says. The Tate has said that its show aims to dispel the common beliefs that persist about the artist and her painting, not least when it comes to a sexual interpretation of her work. The new Georgia O’Keeffe exhibition, opening tomorrow at Tate Modern is not only the first major UK retrospective in 20 years, it is also an attempt to redress O’Keeffe’s place in art history. The photographer helped launch her career, yet he also pushed one very specific interpretation of her paintings Robison III© 2016 Georgia O'Keeffe Museum/DACS, London Sex, Stieglitz and Georgia O’Keeffe Oil paint on canvas48 x 40 inchesCrystal Bridges Museum of American Art, Arkansas, USAPhotography by Edward C.
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