Frasi di Georgia O'Keeffe (59 frasi, pagina 2)

“I don't really know where I got my artists idea. The scraps of what I remember do not explain to me where it came from. I only know that by this time [her eight grade's year] it was definitely settled in my mind.”

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Georgia O'Keeffe

About becoming an artist
1970s, Some Memories of Drawings (1976)

“Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.”

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Georgia O'Keeffe

1930s

“After I had been in Canada painting the wide white barns along the Saint Lawrence river, I thought how different the life of the Canadian farmer was from life in Cebolla. So I painted [in 1945] the Cebolla church which is so typical of that difficult life. I have always thought it one of my very good paintings, though its message is not as pleasant as many of the others.”

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Georgia O'Keeffe

1970s, Some Memories of Drawings (1976)

“Last night I couldn't sleep till after four in the morning – I had been out to the canyon all afternoon – till late at night – wonderful color – I wish I could tell you how big – and with the night the colors deeper and darker – cattle on the pastures in the bottom looked line little pinheads. I can understand Pa Dow painting his pretty colored canyons – it must have been a great temptation – no wonder he fell. Then the moon rose right up out of the ground after we got out on the plains again – battered a little where he bumped his head but enormous – There was no wind – it was just big and still – so very big and still – long legged jack rabbits hopping across in front of the light as we passed – A great place to see the night time because there is nothing else.”

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Georgia O'Keeffe

then I came home – not sleepy so I made a pattern of some flowers I had picked – They were like waterlilies – white ones – with the quality of smoothness gone.
Canyon, Texas, (September 14, 1916), pp. 186, 187
1915 - 1920, Letters to Anita Pollitzer' (1916)

“Walked way out in the plains in the moonlight – there is no wind – so still – And so light – I wish you could see it – with miss Hibbits – she was born in Ireland –... The plains start right across the roads from this house – there is just nothing out there – she says she has often ridden till ten or eleven o'clock at night – alone – nothing to be afraid of – because there is nothing out there – Its great – I am not even having the smallest wish for N. Y. …”

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Georgia O'Keeffe

Canyon, Texas, September, 1916, pp. 207, 208
1915 - 1920, Letters to Anita Pollitzer' (1916)

“Today I walked into the sunset — to mail some letters —... But some way or other I didn't seem to like the redness much so after I mailed the letters I walked home — and kept walking - The Eastern sky was all grey blue — bunches of clouds — different kinds of clouds — sticking around everywhere and the whole thing — lit up — first in one place — then in another with flashes of lightning — sometimes just sheet lightning — and some times sheet lightning with a sharp bright zigzag flashing across it -. I walked out past the last house — past the last locust tree — and sat on the fence for a long time — looking — just looking at — the lightning — you see there was nothing but sky and flat prairie land — land that seems more like the ocean than anything else I know — There was a wonderful moon. Well I just sat there and had a great time by myself — Not even many night noises — just the wind —... I wondered what you were doing - It is absurd the way I love this country — Then when I came back — it was funny — roads just shoot across blocks anywhere — all the houses looked alike — and I almost got lost — I had to laugh at myself — I couldn't tell which house was home - I am loving the plains more than ever it seems — and the SKY — Anita you have never seen SKY — it is wonderful”

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Georgia O'Keeffe

Canyon, Texas (September 11, 1916), pp. 183-184
1915 - 1920, Letters to Anita Pollitzer' (1916)

“.. About my work Howard – I always have two opinions – one is my way of seeing it for myself – and for myself I am never satisfied – never really – I almost always fail – always I think – now next time I can do it – Maybe that is part of what keeps one working – I can also look at myself – by that I mean my work from the point of view of the looking public – and that is the way I look at it when I think of showing. I have always first had a show for myself – and made up my mind – then after that it doesn't matter to me very much what anyone else say – good or bad.”

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Georgia O'Keeffe

In a letter to William Howard Schubart, (nephew of her died husband), Abiquiu, New Mexico, August 4, 1950; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 228
1950 - 1970

“Bement [her art teacher] told me things to read. He told me of exhibitions to go and see [c. 1917].... the two books that he told me to get were Jeromy Eddy 'Cubists and Post-impressionism' and Kandinsky 'On the Spiritual of Art'… It was some time before I really begun to use the ideas. I didn't start at until I was down in Carolina — alone — thinking things out for myself.”

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Georgia O'Keeffe

1970 - 1986, Some Memories of Drawings (1976)

“It seems odd to think of you at Lake George tonight – I can smell the outdoors – and hear it – and see the stars – So often before I went to bed at night I would walk out toward the barn and look at the sky in the open space. There was no light little house – there were no people – there was only the night – I will never go back again – maybe to stand just for a moment where I put the little bit that was left of Alfred [ Alfred Stieglitz, her husband] after he was cremated – but I think not even for that. I put him where he would hear the lake.”

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Georgia O'Keeffe

That is finished.
In a letter to William Howard Schubart, (nephew of her died husband), Abiquiu, New Mexico, August 4, 1950; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 228-29
1950 - 1970

“The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint…. that was my only low-toned dismal-coloured painting.”

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Georgia O'Keeffe

1970 - 1986, Some Memories of Drawings (1976)

“As I opened the door — I heard cattle — many — in the pens over by the track — lowing — I wonder if you ever heard a whole lot of cattle lowing — it sounds different here — too — just ground and sky — and the lowing cattle — you hardly see — either them or the pens — the pens are of weather beaten boards — take on the color of the ground it seems — I like it and I don't like it — its like music — I made up a tune this morning — Well — I heard the cattle — as I opened the door — and I liked it and I didn't liked it — then I read your letter as I walked to breakfast — a great letter — Anita”

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Georgia O'Keeffe

Canyon, Texas, (November, 1916), p. 216
1915 - 1920, Letters to Anita Pollitzer' (1916)

“The large 'White Flower' [Georgia painted in 1929] with the golden heart is something I have to say about White – quite different from what White has been meaning to me. Whether the flower or the color is the focus I do not know. I do know that the flower is painted large to convey to you my experience of the flower – and what is my experience of the flower if it is not color.”

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Georgia O'Keeffe

both quotes in a letter to William M. Milliken, New York November 1, 1930; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 227
1930s

“The meaning of a word — to me — is not as exact as the meaning of a colour. Colours and shapes make a more definite statement than words. I write this [1974] because such odd things have been done about me with words. I have often been told what to paint … I make this effort because no one else can know how my paintings happen.”

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Georgia O'Keeffe

Quote, 1914, from: Foreword
1970s, Some Memories of Drawings (1976)

“I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.”

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Georgia O'Keeffe

1970s, Some Memories of Drawings (1976)

“So, probably.... when I started painting the pelvis bones I was most interested in the holes in the bones — what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world.... they were most beautiful against the Blue — that Blue that will always be there as it is now after all man's destruction is finished.”

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Georgia O'Keeffe

O'Keeffe's contribution (1939) to the exhibition catalogue of the show An American place (1944)
1930 - 1950

“I have frozen in the mountains in rain and in hail – and slept out under the stars – and cooked and burned on the desert so that riding through Kansas on the train when everyone is wilting about me seems nothing at all for heat – my nose has peeled and all my bones have been sore from riding – I drove with friends through Arizona – Utah – Colorado – New Mexico till the thought of a wheel under me makes me want to hold my head.”

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Georgia O'Keeffe

Origine: 1920s, Letter to Ettie Stettheimer' (August 1929), pp. 226-227

“I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back.”

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Georgia O'Keeffe

1970s, Some Memories of Drawings (1976)

“I don't remember where I picked up the head — or the hollyhock. Flowers were planted among the vegetables in the garden between the house and the hills and I probably picked the hollyhock one day as I walked past. My paintings sometimes grow by pieces from what is around... I have used these things to say what is to me the wideness and wonder of the world as I live in it.”

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Georgia O'Keeffe

1970 - 1986, Some Memories of Drawings (1976)

“I am on the train going back to Stieglitz – and in a hurry to get there – I have had four months west and it seems to be all that I needed – It has been like the wind and the sun – there doesn't seem to have been a crack of the waking day or night that wasn’t full – I haven't gained an ounce in weight but I feel so alive that I am apt to crack at any moment..”

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Georgia O'Keeffe

Origine: 1920s, Letter to Ettie Stettheimer' (August 1929), p. 226

“Anita, I have just come the comforting conclusion that I'll have to paint acres and acres of water color landscapes before I will look for even a passably fair one. After about ten attempts — I certainly have to laugh at myself — It's like feeling around in the dark — thought I knew what I was going to try to do but I find I don't — and guess I'll only find out by slaving away at it. I feel — like a wreck — Have been working like mad all day — and you know how deliciously disgusted with every thing one can be — when the sun begins to go down — and one has been working ones head off all day. It gives me the sensation I used to have when I was a youngster and was going away from home on the train — It is a very special sort of sick feeling.”

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Georgia O'Keeffe

New York City (February 1916), p. 145
1910s, Letters to Anita Pollitzer' (1916)

“Your letter became before I was up this morning – Yes nice to get. I recognize two of the drawings you speak of – Number one is the first of the dozen or more you speak of – number 2 came next The last – It didn't quite satisfy me so I tried again – the last one was so much worse than the one you like that I thought I had just about worn the idea out so quit... You ask me what I did with the rest of myself when I made number 2 -... I sat up almost all night one night this week and made the most infernally ugly little shape you ever saw – I wanted to break it when I got through – but didn't then next afternoon when I had time to look at it, it amused me so that I didn't – really its laughable – it's so ugly – and still some way it's quite beautiful – I don't know – I may break it up – or I may try to cast it just for fun – I have another idea that I'm in an awful stew to model – I am going to get a lot of patience so I can make all the little do-dangles I want to and won't have to break one up so I can make another – I want to make a big one..”

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Georgia O'Keeffe

Canyon, Texas, (September, 1916), p. 198
1915 - 1920, Letters to Anita Pollitzer' (1916)

“Anita – I am so glad I'm out here – I can't tell you how much I like it. I like the plains – and I like the work [her painting] – everything is so ridiculously new – and there is something about it that just makes you glad you're living here – You understand – there is nothing here – so maybe there is something wrong with me that I am liking it so much.”

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Georgia O'Keeffe

Canyon, Texas, (September, 1916), p. 187
1910s, Letters to Anita Pollitzer' (1916)

“Dear Anita, I read your manuscript some time ago and it has lain on my table —.. You have written your dream picture of me — and I am not that way at all. We are such different kinds of people that it reads as if we spoke different languages and didn't understand one another at all. You write of the legends others have made up about me — but when I read your manuscript, it seems as much a myth as all the others. I really believe that to call this my biography when it has so little to do with me is impossible — and I cannot have my name exploited to further it.”

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Georgia O'Keeffe

In a letter to Anita Pollitzer, Abiquiu, New Mexico, February 28, 1968); as quoted in The Complete Correspondence of Georgia O’Keeffe & Anita Pollitzer, ed. Clive Giboire, Touchstone Books, Simon & Schuster Inc., New York, 1990, p. 320
1950 - 1970

“The unexplainable thing in nature that makes me feel the world is big fat beyond my understanding — to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.”

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Georgia O'Keeffe

1970s, Some Memories of Drawings (1976)

“My spring has been much better than every travelling springs of the last two years — I have been working — or trying to work my garden into a kind of permanent shape... At the moment I have three rose bushes so full of red and yellow roses that they look on fire — they are really astonishing — You would really laugh to see them — two are very tall — the other smaller — It is a rose that is the reddest red on top and yellow underneath — then sometimes a few spots that are deep butter yellow — and an odd iris — dirty lavender petals reaching up — a pale lavender mixed with yellow that greys it and yellow petals mixed with a little lavender drooping down — very handsome — There are lots of ordinary colors too — many kinds. Well — that's my life”

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Georgia O'Keeffe

In a letter to Anita Pollitzer Abiquiu, New Mexico, (May 31, 1955), from The Complete Correspondence of Georgia O'Keeffe & Anita Pollitzer, ed. Clive Giboire, Touchstone Books, Simon & Schuster Inc., New York, 1990, p. 298
1950 - 1970

“The plains are very wonderful now – like green gold and yellow gold and red gold – in patches – and the distance blue and pink and lavender strips and spots – May sounds like a Dow Canyon but really its wonderful – specially in the evening – I usually go alone – Yesterday rode home on a hay wagon – no it was clover with a funny old man – His mules and wagon blocked my path so we started talking... We had a great time riding toward the sunset. He was little and dried up and weather beaten – but he likes living..”

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Georgia O'Keeffe

Canyon, Texas, (October 30), 1916, pp. 209, 210
1915 - 1920, Letters to Anita Pollitzer' (1916)

“I know I cannot paint a flower. I can not paint the sun on the desert on a bright summer morning but maybe in terms of paint color I can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time.”

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Georgia O'Keeffe

In a letter to William Milliken (1930), quoted in Portrait of an Artist: A Biography of Georgia O'Keeffe, Laurie Lisle (1981), p. 128
1930s

“Dear Anita [ w:Anita Pollitzer ], don't forget w:Mary Cassatt [as one of her inspirations] — and I am not sure that your new paragraph will hold water [(Anita had sent her a chapter of the biography she was writing about Georgia] — We [artists] probably all derive from something — with some it is more obvious than with others — so much so that we can not escape a language of line that has been growing in meaning since the beginning of lines.”

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Georgia O'Keeffe

Quote from a letter to Anita Pollitzer, Abiquiu, New Mexico, January 17, 1956; as quoted in The Complete Correspondence of Georgia O’Keeffe & Anita Pollitzer, ed. Clive Giboire, Touchstone Books, Simon & Schuster Inc., New York, 1990, p. 305
1950 - 1970

“I have been thinking of what you say about form... I feel that a real living form is the natural result of the individual’s effort to create the living thing out of the adventure of his spirit into the unknown.... and from that experience comes the desire to make the unknown known. By unknown I mean the thing that means so much to the person that he want to put it down - clarify something he feels but does not clearly understand... Making the unknown known.... if you stop to think of form as form you are lost.”

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Georgia O'Keeffe

Quote in a letter to Sherwood Anderson, October 1923; as quoted in Georgia O'Keeffe: A Life, Roxana Robinson, University Press of New England, 1999
1917 - 1929