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Strand was particularly influential in her development of cropped, close-up images. She received unprecedented acceptance as a female artist from the fine art world due to her powerful graphic images. [6] Depictions of small flowers that fill the canvas suggest the immensity of nature and encourage viewers to looks at flowers differently. [2]
It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the use of contrasting shades of colors. The painting was made with red, orange, brown, and pink paint. [12] The 22 in × 17 in (56 cm × 43 cm) abstract oil painting is owned by private collectors. [13]
Georgia O'Keeffe, Drawing No. 2 - Special, charcoal on Fabriano laid paper, 60 x 46.3 cm (23 5/8 x 18 1/4 in.), 1915, National Gallery of Art Charcoal drawings by Georgia O'Keeffe from 1915 represents Georgia O'Keeffe's first major exploration of abstract art and attainment of a freedom to explore her artistic talents based upon what she felt and envisioned. [1]
Art historian Britta Benke argues that due to "its meditative contemplation of individual objects", Summer Days is closer to a still life composition than to a landscape painting. [11] Author Marjorie P. Balge-Crozier suggests that there is an art historical precedent to O'Keefe's combination of still life and landscape imagery seen in Summer Days.
The exhibition of O'Keeffe's complete Hawaii series of paintings, comprising tropical flowers, landscapes, and cultural artifacts, has only been shown together in their entirety once, appearing in O'Keeffe's original showing at An American Place from February 1 to March 17, 1940, which was positively received by critics at the time.
Although abstract, the artist has used local color: green for foliage and greens and browns for land patches, black for tree trunks, tans for house siding. It calls to mind Braque's 1908 landscape oil 'Big Trees at L'Estaque'." Other paintings, particularly her still-lifes and flower studies, were semi-abstract with less cubist influence. [47]
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