GEORGIA O' KEEFFE (1887-1986)
Mount Mansfield (1,339m - 4,393ft)
United States of America (Vermont) - Canada border
In The Green Mountains, oil on canvas, 1932, The Art Institute of Chicago
The mountains
Mount Mansfield (1,339m - 4,393ft) is the highest point of The Green Mountains, a mountain range in the U.S. state of Vermont, part of the Appalachian Mountains, that stretches from Quebec in the north to Alabama in the south. The Green Mountains are part of the New England/Acadian forests ecoregion. The range runs primarily south to north and extends approximately 250 miles (400 km) from the border with Massachusetts to the border with Quebec, Canada. The part of the same range that is in Massachusetts and Connecticut is known as The Berkshires or the Berkshire Hills (with the Connecticut portion, mostly in Litchfield County, locally called the Northwest Hills or Litchfield Hills) and the Quebec portion is called the Sutton Mountains, or Monts Sutton in French.
All mountains in Vermont are often referred to as the "Green Mountains". However, other ranges within Vermont, including the Taconics — in southwestern Vermont's extremity—and the Northeastern Highlands, are not geologically part of the Green Mountains.
The painter
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 flowers, dramatic cityscapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American Modernism.
She studied at the Art Institute of Chicago in 1905-1906 and the Art Students League in New York in 1907-1908. Under the direction of William Merritt Chase, F. Luis Mora, and Kenyon Cox she learned the techniques of traditional realist painting. The direction of her artistic practice shifted dramatically in 1912 when she studied the revolutionary ideas of Arthur Wesley Dow. Dow’s emphasis on composition and design offered O’Keeffe an alternative to realism. Seeking to find a personal visual language through which she could express her feelings and ideas, she began a series of abstract charcoal drawings in 1915 that represented a radical break with tradition and made O’Keeffe one of the very first American artists to practice pure abstraction.
O’Keeffe mailed some of these highly abstract drawings to a friend in New York City, who showed them to Alfred Stieglitz. An art dealer and internationally known photographer, he was the first to exhibit her work in 1916. He would eventually become O’Keeffe’s husband.
In the summer of 1929, O’Keeffe made the first of many trips to northern New Mexico. The stark landscape, distinct indigenous art, and unique regional style of adobe architecture inspired a new direction in O’Keeffe’s artwork. For the next two decades she spent part of most years living and working in New Mexico . She made the state her permanent home in 1949, three years after Stieglitz’s death. O’Keeffe’s New Mexico paintings coincided with a growing interest in regional scenes by American Modernists seeking a distinctive view of America. Her simplified and refined representations of this region express a deep personal response to the high desert terrain.
In the 1950s, O’Keeffe began to travel internationally. She created paintings that evoked a sense of the spectacular places she visited, including the mountain peaks of Peru and Japan’s Mount Fuji.
Suffering from macular degeneration and discouraged by her failing eyesight, O’Keeffe painted her last unassisted oil painting in 1972. Late in life, and almost blind, she enlisted the help of several assistants to enable her to again create art. In these works she returned to favorite visual motifs from her memory and vivid imagination.
