The Tate Modern unveils the mystery of Georgia O’Keeffe flowers – Terra Peru

For years, flower paintings of Georgia O’Keeffe US have been interpreted as an icon of femininity, a label of which she reneged and now the Tate Modern subverts a magnificent retrospective of the artist.

“Georgia O’Keefe” which was presented to the press today, is the most comprehensive exhibition of the painter never exposed outside the United States, and extols its role as a pioneer of modernism just a century after its debut in New York in 1916.

Spread over thirteen rooms, the exhibition, which will open to the public from July 6 to October 30, comprises more than 60 provenances hundred works, including the famous “Jimson Weed / White Flower No. 1″, the most expensive work by a female artist.

This oil diaphanous 1932-a close-up of a plant that is usually considered a bad grass- was awarded $ 44.4 million by the November 20, 2014 at the headquarters Sotheby’s New Yorker.

In addition to contemplate this piece listed the sample provides an insight into the thinking and personality of Georgia O’Keeffe (1887-1986), whose work was marked largely by their marriage photographer and patron Alfred Stieglitz, whose gallery ’291′ New York debut.

It was he who began to attribute to the floral oil paintings, which the artist made especially in the 1920 to 1950 of the last century, the erotic component, to accompany psychoanalytic interpretations compared with the female sexual organs.

Frustrated with this limited view, which subsequently led to become a reference of some feminists, O’Keeffe evolved from abstraction to photorealism, to make clear their interest, not by female sexuality, but by the wonders of nature.

“When people read erotic symbols in my paintings, are talking about their own affairs,” he said in life the artist who began painting detailed close-ups of flowers, he explained, because “they are so small”, usually “nobody sees.”

The first rooms of the exhibition at the imposing gallery on the Thames showing their early work in coal, as “Special No. 9″ and “Early No. 2″, 1915, which reflect their sensitivity to form and abstract expression.

They also include the iconic “Grey Lines with Black, Blue and Yellow” (1932), another example of thematic interpreted by critics as on the “feminine iconography,” although, as the Tate points out, today is perceived “as an attempt to portray visually the music.”

Another room shows his oil paintings of New York skyscrapers, such as “New York Street with Moon” (1925), and there is a space dedicated to personal and professional relationship O’Keeffe and Stieglitz, which can be beautiful portraits and nudes the artist captured by the camera of her husband.

The influence of modernist photography is manifested in works of the painter, as “Calla Lily in Tall Glass -nº2″ and the bold foreground of “Oriental Poppies” 1927.

from the 30s, O’Keeffe, born in Wisconsin, moved to New Mexico, whose desert landscapes and Hispanic and Indian influence inspired much of his later work, both abstract and figurative.

“Black Mesa Landscape, New Mexico” and “Red and Yellow Cliffs”, made in 1940, traces its progressive immersion in the distinctive geography of the territory of the southwestern United States, and “Taos Pueblo 1929-1934″ reflects its response to local culture.

In the heart of London’s exhibition are earthy oils that Georgia O’Keeffe developed the place called “Black Place” (dark place), near Santa Fe, New Mexico, where he died in 1986 at age 98.