PROPERTY FROM THE GEORGIA O'KEEFFE MUSEUM, SOLD TO BENEFIT THE ACQUISITIONS FUND
Jimson Weed/White Flower No. 1 represents one of the rare instances during the first few decades of O’Keeffe’s career that she selected a canvas size noticeably larger than her standard format. In 1932, the same year she executed the present work, O’Keeffe had begun plans for a mural commission for Radio City Music Hall—then under construction in Rockefeller Center—which may have compelled her to experiment with this larger scale. As in Martin’s work, the proportions contribute to the sense that the landscape is enveloping the viewer. Presenting the blossom as a commanding form, rather than the delicate entity it is in reality, O’Keeffe achieves an effect not unlike that of Jeff Koons’ 1995-7 work Pink Bow, in which the artist depicts his subject in isolation, similarly centralized and frontally (fig. 5). The meticulous, nearly photographic technique Koons utilizes in Pink Bow imbues the dainty folds of a ribbon with a bold sculptural presence and recalls O’Keeffe’s remarkably precise brushwork in works such as Jimson Weed/White Flower No. 1, in which her color, noted Paul Rosenfeld, “has an edge that is like a line. She created her edges with the finest and most precise kind of brushwork” (Peters, p. 17). In both works, the artist changes the subject into an iconic, timeless object that defies the fragility and, in the instance of the Jimson weed, the impermanence that are inherent to it in reality.
O’Keeffe’s vision of the flower reveals the power and exuberance with which she viewed her natural environment. It is a deeply personal image that speaks to ideas of timelessness and universality. “O’Keeffe acted to suspend time,” explains Jack Cowart, “producing art that would capture the transient. [Here], O’Keeffe made a flower, with all of its fragility, a permanent image without season, wilt or decay. Enlarged and reconstructed in oil on canvas or pastel on paper, it is a vehicle for pure expression rather than an example of botanical illustration. In her art, fleeting effects of natural phenomena or personal emotion become symbols, permanent points of reference (“Georgia O’Keeffe: Art and Artist,” Georgia O’Keeffe: Art and Letters, Boston, Massachusetts, 1987, p. 2). As the enlarged blossom floats in the ambiguous pictorial space, O’Keeffe transforms this traditional still-life subject into a meditative experience. O’Keeffe’s intent foreshadows the work of artists like Mark Rothko, who also used color, shape and scale to induce an emotional reaction from the viewer (fig. 6).
Despite her initial association with Stieglitz and his circle, O’Keeffe’s aesthetic was always distinctly her own. Although connotations of sexuality and gender were continuously ascribed to the imagery displayed in works Jimson Weed/White Flower No. 1, O’Keeffe repeatedly denied these suggestions “…when you took the time to really notice my flower you hung all your own associations with flowers on my flower,” she later explained of the tendency of audiences to misinterpret her work, “and you write about my flower as if I think and see what you think and see of the flower—and I don’t” (Britta Benke, O’Keeffe, London, 2003, p. 38). O'Keeffe's flower paintings bring to mind the flowers of Andy Warhol, who also used the subject in a distinctive and individual way (fig. 7). Warhol met O'Keeffe in 1979 at her home in Abiquiú home to create her portrait. In Warhol's series, the artist presents his subject without narrative or context to purposely invite a greater degree of interpretation, questioning and reflection from the viewer. Both artists ultimately elevate an ordinary object into the realm of high art, compelling the viewer to consider something familiar in an entirely new way. “I have but one desire as a painter,” O’Keeffe once summarized of her creative intent, “that is to paint what I see, as I see it, in my own way, without regard for the desires or taste of the professional dealer or the professional collector. I attribute what little success I have to this fact" (B. Vladimir Berman, "She Painted the Lily and Got $25,000 and Fame for Doing It," New York Evening Graphic Magazine Section, May 12, 1928, p. 3M).
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