106
106
Alfred Stieglitz
GEORGIA O'KEEFFE (NUDE STUDY)
Estimate
300,000500,000
LOT SOLD. 365,000 USD
JUMP TO LOT
106
Alfred Stieglitz
GEORGIA O'KEEFFE (NUDE STUDY)
Estimate
300,000500,000
LOT SOLD. 365,000 USD
JUMP TO LOT

Details & Cataloguing

Photographs

|
New York

Alfred Stieglitz
1864-1946
GEORGIA O'KEEFFE (NUDE STUDY)
palladium print, mounted to board, 1918-19
9 1/2  by 7 5/8  in. (24.13 by 19 cm.)
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Provenance

The photographer to Georgia O'Keeffe

Private collection, Santa Fe, 1986

Acquired by the present owner from the above

Literature

Greenough 523

In Focus: Alfred Stieglitz (The J. Paul Getty Museum, 1995), pl. 26

Catalogue Note

The series of nude studies that Alfred Stieglitz began of Georgia O’Keeffe in 1918 represents his only prolonged, and ultimately most significant, work with the female form.  The image offered here, with its bold composition and clean lines, is pure Modernism.  Its austere aesthetic does not negate its erotic charge. 

O’Keeffe’s and Stieglitz’s romantic relationship was in first flower when this picture was made.  The two had met in 1915, and then began a gradually intensifying correspondence that culminated in O’Keeffe’s move to New York City in June of 1918.  Stieglitz’s consuming desire for O’Keeffe did not blind him to her talent as an artist or to the importance of her work.  With the help of his brother Lee, Stieglitz set O’Keeffe up in her own sky-lit apartment/studio on East 59th Street, where she could pursue her painting without distraction, and without the burden of paying rent.  It was there that he began to photograph her, as O’Keeffe later recounted, ‘with a kind of heat and excitement’ (O’Keeffe: A Portrait by Alfred Stieglitz, unpaginated).  As O’Keeffe’s and Stieglitz’s relationship became more physical, the photographs became more intimate. 

While eroticism and desire are present in these pictures, Stieglitz never failed to execute them with his characteristic technical and aesthetic skill.  This dedication extended to the prints he produced, usually on palladium or platinum paper with a smooth matte surface and a long tonal range capable of rendering the subtlest shifts in texture and shade.  The palladium print offered here is a prime example.  A slight reversal of tones in the dark areas suggests that Stieglitz may have solarized the print very slightly during processing to enhance its dramatic affect. 

In Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs, Sarah Greenough locates only three examples of this image aside from the print offered here: at the National Gallery of Art, at the J. Paul Getty Museum, and in a private collection—all platinum prints. 

Photographs

|
New York