乔治亚·欧姬芙(Georgia O'Keeffe)
艺术家: 乔治亚·欧姬芙
生于: 1887年11月15日；美国威斯康星太阳大草原
卒于: 1986年3月06日；圣菲，新墨西哥，美国
国籍: 美国
流派: 精确主义
领域: 绘画
受影响: 奥古斯特·罗丹,威斯利·康定斯基,弗里达·卡洛
影响: Judy Chicago,安迪·沃霍尔
朋友: Alfred Stieglitz,Arthur Dove,Tamara de Lempicka,查尔斯·德穆斯
机构: 纽约艺术学生联盟，纽约，NY，美国，芝加哥艺术学院学院（SAIC），芝加哥，IL，美国
乔治亚.奥基夫是美国最早的现代派画家之一，也是第一位女画家。奥基夫知道她从小就想成为一名艺术家。在寄宿学校毕业后，奥基夫在芝加哥艺术学院学习绘画，成为一名美术老师。在20世纪初，在美国，当老师是女性进入艺术世界的唯一途径。她的第一份工作是在南卡罗来纳州的一所女子学院。在这里，奥基夫创作了引起阿尔弗雷德·斯蒂格利茨注意的木炭作品。
斯蒂格利茨是一位著名的摄影师，也是现代主义艺术运动的著名倡导者。现代主义通过毕加索、亨利·马蒂斯、保罗·C&#zanne和其他先锋画家的作品传入美国。在纽约，斯蒂格利茨拥有画廊291，承认这些画家的作品。奥基夫第一次公开露面是在这个画廊1916。顺便说一句，她是第一位在这个地方展出的美国画家。在她一生中的大部分时间里，她受到施蒂格利茨的指导和影响。多亏了他的支持，奥基弗离开教室，最终成为一名艺术家。他的注意力在整个职业生涯中延伸，他组织了22次个人展览和几个团体安装。1918年，他们成为情人，并一直生活在一起，直到1946年斯蒂格利茨&去世。O'Keeffe因其技巧和主题而广为人知。她掌握了线条和构图的使用，创造了简单的抽象作品，如图XIII/I >（1915）。在1920年，奥基夫开始尝试用鲜艳的色彩来描绘花卉和风景。在这十年中，她创作了一些最杰出的作品：(1921)、(1926)和(1927)。作为艺术家，她一生中的一个重要部分是在新墨西哥度过的。在那里，她热衷于描绘沙漠、山脉，以及代表她永远美丽的沙漠的动物头骨。这些元素的并置是奥基夫对待超现实主义的方法。20世纪30年代，美国人民重新定义了“美国人的生活方式”。像《牛骷髅：红、白、蓝》这样的作品代表了奥基夫对这个问题的看法。对她来说，美国的真实形象远远超出了大城市的极限。在她生命的最后几十年里，这位艺术家一直在从事一些具有挑战性的项目，比如《云上天空》系列（1965-1967）的24英尺长的画布。
O'Keeffe从来不想被看成是一个"女艺术家，"的确，她超越了这个概念。通过对自然世界的抽象，奥基夫创造了一些图像，这些图像已经成为美国艺术风景的神话和图像学的一部分。她的作品大部分保存在格鲁吉亚O'Keffe博物馆
Artist :Georgia O'Keeffe
Additional Name :Georgia Totto O'Keeffe
Born : Sun Prairie, Wisconsin, United States
Died : Santa Fe, New Mexico, United States
Nationality :American
Art Movement :Precisionism
Influenced by :auguste-rodin,wassily-kandinsky,frida-kahlo
Influenced on :judy-chicago,andy-warhol
Friends and Co-workers :alfred-stieglitz,arthur-dove,tamara-de-lempicka,charles-demuth
Art institution :Art Students League of New York, New York City, NY, US,School of the Art Institute of Chicago (SAIC), Chicago, IL, US
Georgia O’Keeffe was one of the first modernist painters of the United States, and the first female one. O’Keeffe knew she wanted to be an artist from a very young age. After finishing boarding school, where she received formal lessons in painting, O’Keeffe attended the Art Institute of Chicago to become an art teacher. At the beginning of the 20th century, being a teacher was the sole approach a woman could have into the art world in the United States. Her first job as a teacher was at a small women’s college in South Carolina. Here, O’Keeffe created the charcoal pieces that caught the attention of Alfred Stieglitz.
Stieglitz was a famous photographer, and a renowned advocate for the Modernist movement in the arts. Modernism came to the United States through the work of Pablo Picasso, Henri Matisse, Paul Cézanne, and other vanguard painters. In New York City, Stieglitz owned Gallery 291, acknowledged for showing the pieces of these painters. The first time an O’Keeffe drawing was exposed in public was in 1916 at this gallery. Incidentally, she was the first American painter featured at this place. During a great part of her life, she was mentored and influenced by Stieglitz. Thanks to his support, O’Keeffe left the classrooms to finally become an artist. His attention extended throughout all her career; he organized 22 solo exhibitions and several group installations. They became lovers in 1918 and stayed together until Stieglitz´s death in 1946.O’Keeffe is widely recognized for her technique and themes. She mastered the use of line and composition to create abstract pieces full of simplicity, such as (1915). During the 1920’s, O’Keeffe started experimenting with vibrant colors to create depictions of flowers and landscapes. Some of her most distinguished paintings were made in this decade: (1921), (1926), and (1927). An important part of her life as an artist was spent in New Mexico. There, she felt keen to portray deserts, mountains, and also skulls of animals that represented for her an eternal beauty of the desert. Juxtaposition of these elements was O’Keeffe’s approach to Surrealism.
In the 1930s, people of the United States were redefining the “American lifestyle.” Pieces like (1931) represented O’Keeffe’s view on the subject. For her, the true image of America went far beyond the limits of big cities. During the last decades of her life, the artist was working on challenging projects like the 24-foot long canvas of series (1965–1967).
O’Keeffe never wanted to be considered just a "woman artist," and indeed, she surpassed this concept. By abstracting the natural world, O’Keeffe created images that have become a part of the mythology and iconography of the American artistic landscape. The majority of her works is preserved by .
