2024年12月24日 星期二

Georgia O’Keeffe 1887~1986 擁抱真實自我的價值"I seemed to be hunting for something of myself out there".。有中文翻譯的傳記等。草間彌生(Yayoi Kusama)回憶錄談Georgia O’Keeffe 鼓勵她Alfred Stieglitz (1864–1946)

   草間彌生(Yayoi Kusama)回憶錄談Georgia O’Keeffe 鼓勵她

Alfred Stieglitz (1864–1946)


Alfred Stieglitz, “Georgia O’Keeffe” (1920), platinum print (via George Eastman House/Wikimedia)

Alfred Stieglitz was an influential early proponent of photography as a fine art, including through his galleries, where he exhibited the medium alongside other modern art. While much of his outdoor photography grapples with the chaos of nature (urban scenes are often overlaid with rain and snow), he also made intimate platinum prints in the studio, such as portraits of his wife, painter Georgia O’Keeffe.

Georgia O’Keeffe 1887~1986 擁抱真實自我的價值"I seemed to be hunting for something of myself out there".。有中文翻譯的傳記等


Georgia O'Keeffe's statement, "I have already settled it for myself so flattery and criticism go down the same drain and I am quite free," offers profound insight into her approach to both art and life. As one of the most pivotal figures in American modernism, O'Keeffe’s unwavering commitment to personal authenticity serves as a testament to the importance of self-acceptance and creative freedom in a world rife with external opinions. Throughout her career, O'Keeffe faced both adoration and scrutiny, yet she remained steadfast in her artistic vision, reflecting a broader philosophy of self-definition and independence.
Born in 1887 in Sun Prairie, Wisconsin, O'Keeffe emerged as a transformative artist known for her striking depictions of flowers, bones, and the arid landscapes of the American Southwest. Her work, characterized by bold colors and simplified forms, challenged traditional artistic norms and captured the essence of her subjects with unique clarity. O'Keeffe's personal journey as a female artist in a male-dominated world was often fraught with criticism, particularly regarding her sensual representations of flowers, which some critics viewed as overtly erotic. Yet, O'Keeffe’s defiance in the face of such judgments highlights her belief in the authenticity of her own expression, illustrating how self-assurance and resilience were at the heart of her artistic philosophy.
O'Keeffe's relationship with photographer Alfred Stieglitz, both a romantic and professional connection, further underscores her commitment to self-determination. While Stieglitz championed her work, their dynamic was often complex, navigating the tension between artistic collaboration and personal conflict. Despite these challenges, O'Keeffe's ability to maintain her creative identity reinforced her vision of autonomy. This is particularly notable against the backdrop of the early 20th century, a time when women were gaining more visibility and rights, and O'Keeffe became an emblem of female empowerment in the arts. Through her boldness, she not only advanced her own career but also paved the way for future generations of women artists to pursue their craft without apology.
In her later years, O'Keeffe continued to evolve, spending much of her time in New Mexico, where the expansive desert landscapes deeply influenced her art. Her continued success and innovation stand as a testament to her enduring philosophy of artistic freedom—one that was rooted in a deep connection to the self rather than the fleeting judgments of others. O'Keeffe’s approach to life and art provides an enduring lesson in the value of embracing one's true self, regardless of external pressures.
Ultimately, O'Keeffe's quote serves as both a reflection of her journey and an inspiring reminder for us all: true freedom and creative fulfillment come from within, and the ability to reject the weight of external validation is a crucial step in living authentically. Her legacy endures, not just as a trailblazer in modern art, but as a model of resilience, self-awareness, and artistic integrity.

喬治亞·歐姬芙的這句話“我已經為自己解決了這個問題,所以奉承和批評都會歸於同一個,我很自由”,這句話深刻地洞察了她對待藝術和生活的方式。作為美國現代主義最關鍵的人物之一,奧基夫對個人真實性的堅定承諾證明了在充滿外部意見的世界中自我接受和創作自由的重要性。在她的整個職業生涯中,奧基夫面臨著崇拜和審視,但她仍然堅定地堅持自己的藝術願景,反映了更廣泛的自我定義和獨立哲學。 歐姬芙 1887 年出生於威斯康辛州太陽草原,是一位變革性的藝術家,以其對花朵、骨頭和美國西南部乾旱景觀的引人注目的描繪而聞名。她的作品以大膽的色彩和簡化的形式為特點,挑戰了傳統的藝術規範,並以獨特的清晰度捕捉了她的主題的本質。奧基夫在男性主導的世界中作為女性藝術家的個人旅程經常充滿批評,特別是關於她對花朵的感性表現,一些評論家認為這種表現過於色情。然而,歐姬芙在面對此類判斷時的反抗凸顯了她對自己表達真實性的信念,說明了自信和韌性是她藝術哲學的核心。 歐姬芙與攝影師阿爾弗雷德·史蒂格利茨的關係,既浪漫又專業,進一步凸顯了她對自決的承諾。雖然史蒂格利茨支持她的作品,但他們的動態往往很複雜,需要處理藝術合作和個人衝突之間的緊張關係。儘管面臨這些挑戰,歐姬芙保持創作身分的能力增強了她的自主願景。這在 20 世紀初的背景下尤其引人注目,當時女性獲得了更多的知名度和權利,而歐姬芙也成為藝術領域女性賦權的象徵。透過她的大膽,她不僅推進了自己的事業,還為後代女性藝術家毫無歉意地追求自己的技能鋪平了道路。 在她的晚年,歐姬芙繼續發展,大部分時間都在新墨西哥州度過,那裡廣闊的沙漠景觀深深影響了她的藝術。她持續的成功和創新證明了她持久的藝術自由哲學——這一哲學植根於與自我的深刻聯繫,而不是他人短暫的判斷。歐姬芙對待生活和藝術的態度為我們提供了一個持久的教訓,告訴我們無論外部壓力如何,擁抱真實自我的價值。 最終,歐姬芙的這句話既反映了她的旅程,也為我們所有人帶來了鼓舞人心的提醒:真正的自由和創造性的滿足來自於內心,而拒絕外部驗證的能力是真實生活的關鍵一步。她的遺產不僅作為現代藝術的開拓者,而且作為韌性、自我意識和藝術完整性的典範而流傳至今。

可能是 1 人的黑白圖像
 
Georgia O'Keeffe, Alfred Stieglitz, 1918
gelatin silver print
Georgia O’Keeffe (Alfred Stieglitz, 1922)

Calvin Tomkins’s 1974 Profile of Georgia O'Keeffe, reported from Ghost Ranch, in New Mexico.



Georgia Totto O'Keeffe was an American artist. She was best known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been recognized as the "Mother of American modernism". Wikipedia




The Georgia O'Keeffe Museum is dedicated to the life, art and legacy of Georgia O'Keeffe.
Georgia O'Keeffe is one of the most significant and intriguing artists of the twentieth century, known internationally for her boldly innovative art. Her distinct ...
Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. She was best known for her paintings of enlarged flowers, New York ...
Known for‎: ‎Painting
Awards‎: ‎National Medal of Arts





 Georgia O’Keeffe (American, 1887–1986) 
Calvin Tompkins recalls kitchen mishaps and conversation at Ghost Ranch with the legendary painter.
Remembering a long-ago meal at the New Mexico home of the celebrated artist.
NEWYORKER.COM


BBC Culture
She's famous for her flower close-ups, but it’s Georgia O’Keeffe’s paintings of the US landscape that reveal the most about her.

Holly Williams pays the artist’s studio a visit to find out why.
BBC.COM|由 HOLLY WILLIAMS 上傳

Georgia O’Keeffe was born on this day in 1887. Throughout her career, O’Keeffe remained independent from shifting art trends and stayed true to her own vision, which was based on finding the essential, abstract forms in nature.

In this view of a mission church in Ranchos de Taos, O’Keeffe depicts the…
METMUSEUM.ORG





Georgia O'Keeffe is an American legend. An inventive, lyrical modernist, her uninhibited use of vibrant colour and startling forms gave American art a powerful shot in the arm. O'Keeffe was born on this day in 1887





Tate

"I seemed to be hunting for something of myself out there".

Travel through Georgia O'Keeffe's work, in her own words:http://ow.ly/riCq302vCwe



My Faraway Nearby | Tate


Tate Etc. presents a chronological survey of O'Keeffe's extraordinary paintings accompanied by reflections, in the artist’s own words.

TATE.ORG.UK



Georgia O'Keeffe - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Georgia_O'Keeffe




Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. Born near Sun Prairie, Wisconsin, O'Keeffe first came to the attention of ...

More than flowers: Trailblazing artist Georgia O'Keeffe celebrated in London

CNN‎ - 1 day ago (CNN) American artist Georgia O'Keeffe may be best remembered for her close-up paintings ...



BBC Culture


Famous for her flower close-ups, it’s Georgia O'Keefe's paintings of the US landscape that reveal the most about her.






The painter who captured America
Holly Williams pays the artist’s studio a visit to find out why.
BBC.COM|由 HOLLY WILLIAMS 上傳


破除迷思,忠於藝術家的本意——倫敦泰德現代美術館歐姬芙回顧展

藝術家雜誌社·2016年10月5日
撰文/吳礽喻


 歐姬芙(Georgia O’Keeffe)一直以來對評論家將她的花朵繪畫比做女性子宮或生殖器,或是她的丈夫史提葛立茲(Alfred Stieglitz)以心理分析的方式來闡述、推銷她的作品感到不滿,她勇於創新的性格與藝術創作的多元面相,成為泰德美術館今夏大展的焦點——包含了從1910至1960年代,她的創作能量最為豐沛時的作品,重新審視這位美國現代主義繪畫關鍵人物,在一生中精采的際遇、創作風格與歷史影響力。

歐姬芙 東方罌粟 1927 油彩畫布 76.2×101.6cm 明尼亞波利斯明尼蘇達大學魏斯曼美術館藏©2016 Georgia O'Keeffe Museum/DACS, London
關於歐姬芙的十三個主題
 喬琪.歐姬芙是美國歷史中,現代主義的代表人物之一,出生於美國中北部威斯康辛州,父母為愛爾蘭與德國/匈牙利裔移民,她十二歲時就決心成為一位藝術家,在德州、紐約、新墨西哥等地旅行、生活,創作生涯長達七十年。現今泰德美術館就歐姬芙辭世卅週年、距歐姬芙首次在史提葛立茲的291畫廊展出一百年整,將作品依年代及類型劃分為十三個主題展出。
 一進入泰德現代美術館的三樓畫廊,映入眼簾的第一個主題為「起步與291畫廊」,從早期作品即可見歐姬芙在抽象構圖與色彩表現的才能,她說過:「在我的腦海裡總是出現一些從沒人教過我、貼近我的圖案與想法……我決定重新開始,脫離過去所學的……最先開始是用碳筆和紙,不用任何色彩,直到畫到不可能再用黑白實踐我的想法為止。」求學時期的同窗好友安妮塔.波利士(Anita Pollitzer)將她的作品偷偷寄給史提葛立茲,得到的回應是一句驚呼「終於有了一位女性藝術家」,1916年,史提葛立茲安排歐姬芙首次在291畫廊展出。

歐姬芙 音樂——粉紅與藍第一號 1918 油彩畫布 88.9×73.7cm Barney A. Ebsworth藏©2016 Georgia O'Keeffe Museum/DACS, London
 第二個主題「抽象與感官」進入了1930年代,歐姬芙運用色彩的語言,探索音樂與聲響有沒有可能用色彩表現,或是如何用繪畫與色彩捕捉其他感官知覺,像是觸覺、聽覺與嗅覺?描繪花朵時,歐姬芙的原意是希望現代的紐約客能夠不再成日庸庸碌碌,可以有停下來欣賞一朵花的時間。但有爭議才有賣點,人們驚豔花朵特寫像是女性性器官,代表性解放也好,或是用深層的心理分析來解讀女性情慾也罷,史提葛立茲鼓勵各種延伸解讀,但歐姬芙會不以為然地表示「當人們從我的畫作中看到色情的象徵,其實只是反應他們自己的情操而已」,便自顧自地將繪畫主題轉移到更抽象難解的立體派風格。
 第三展間「歐姬芙、史提葛立茲與歐姬芙、史提葛立茲與社交圈」以照片、書信文獻更深入地展示那個年代的紐約社交圈,當時的政治經濟情勢,讓文化界人士相信強勢的民族主義、現代主義思維能為美國創造出更好的未來,歐姬芙的繪畫、史提葛立茲的攝影反應了上述的特點。緊接下來四至六號展間「紐約城市景觀」、「喬治湖」、「花朵與靜物」便是兩人共同生活創作的縮影,他們住在紐約卅層樓高的摩天大樓裡、在史提葛立茲家族喬治湖畔小屋避暑,歐姬芙畫了許多紐約宏偉景觀,都是以從地面仰視建築物的角度,直到1929年經濟大蕭條粉碎了烏托邦的大都會憧憬,歐姬芙便不再為都會而畫。

歐姬芙 從遠處靠近 1937 油彩畫布 91.4×101.9cm 紐約大都會美術館藏,史提葛立茲收藏1959©2016 Georgia O'Keeffe Museum/DACS, London. Photo: Malcom Varon ©2015. Image copyright The Metropolitan Museum of Art/ Art Resource/ Scala, Florence
 「新墨西哥」、「從遙遠之地,接近:骷髏繪畫」、「鬼丘」、「黑地與白地」、「系列畫:阿比基庭院、骷髏、棉花樹」、「美國西南部」、「晚期抽象與天空景觀畫」是七到十三號展間的名字,歐姬芙在新墨西哥找到了自己的天地,先是暫住在收藏家梅薄.朵姬.露漢(Mabel Dodge Luhan)位於陶斯(Taos)的家,當地有自己的藝術社群,而特殊的自然景觀:山丘、台地、地景建築,及文化的複雜多元性:美國印地安原住民、西班牙殖民主義遺風,都令歐姬芙著迷,她常自己駕車載著畫具往返丘原牧場之間,雖然當地也有許多受到「西部牛仔」意象吸引而前去觀光的有錢人,但在歐姬芙的畫作中就是一片荒野,她會半開玩笑地說:「這是我私人的山丘,它是屬於我的。上帝告訴我,如果我畫夠了,它就會是我的了。」
封面圖版: 泰德美術館歐姬芙特展第十三展覽室「晚期抽象與天空景觀畫」現場一景。歐姬芙 雲朵上的天空 1963 油彩畫布 122×213.4cm 德州私人藏 (圖版提供:Tate Modern)


(本文節錄自【國際藝壇】,《藝術家》雜誌497期,2016年10月號)










Guardian culture


A painting of a white blossom of a weed, which once hung in George W. Bush’s dining room, has set a world record for a work of art by a woman after a bidder paid $44.4m (£28m) for the Georgia O'Keeffe piece





Georgia O’Keeffe flower painting sells for record-breaking $44.4m
Final bid for Jimson Weed/White Flower No 1 more than doubles the previous highest price paid for a work of art by a woman
THEGUARDIAN.COM|由 MARK BROWN 上傳

沒有留言:

網誌存檔