Georgia O'Keeffe Française - Alain Chivilò | Cultural Events | Art Musa
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Georgia O’Keeffe Française

Paris, Centre Pompidou and France, in addition to hosting Christo’s posthumous l’Arc de Triomphe Wrapped, dedicate one of the most important retrospectives to the American artist Georgia O’Keeffe. Circa one hundred works testify to an artistic process for one of the best known overseas painters.
Growing up in Wisconsin (Sun Prairie 11/15/1887), her path in art began through abstraction to represent and communicate a personal approach, idea and feeling. Using charcoal she outlined abstractions which, thanks to a friendship, were viewed by Alfred Stieglitz, one of the most influential merchant and photographer in the US at the time and in the following years, future husband of O’Keeffe herself.
Stieglitz exhibited her works for the first time in 1916 and in less than a decade Georgia Totto O’Keeffe achieved the milestone of being one of the best known painters in America.
Among her subjects, undoubtedly, the skyscrapers of New York and the flowers with an explicitly erotic echo found appreciation for an audience looking to the future. In fact, these visions and representations inserted her as an artist in Modernism, a movement that broke with the past to search for new forms of expression. Between the end of the nineteenth century and the first half of the twentieth century with greater emphasis after the Great War, a phase of artistic experimentation was accelerated with the aim of breaking down barriers previously placed.
During the summer of 1929 in a O’Keeffe’s trip to northern New Mexico it has been marked a new stage to make art, putting herself in synergy with a local Hispanic-American culture, but above all with a new landscape tending to a Metaphysical essentiality with interventions taken from the Surrealism.
From here on, New Mexico was the territory that allowed her to wander towards new figurations, providing and bringing more Stars and Stripes conceptuality to Modernism elaborated and made in USA.
Representations for mental abstractions that from the 1950s took on international contexts thanks to new trips carried out in different locations around the world.
At the age of 73 she dealt with the theme of aerial views of sky and clouds.
Until her eyes allowed her to be independent, she painted autonomously until 1972, so much so that she affirmed in the following years “I can see what I want to paint. The thing that makes you want to create is still there. ”
She died on March 6, 1986 in Santa Fe.
The Centre Pompidou retrospective – structured in eight sections among La Galerie 291, Premières œuvres, Vers l’abraction, De New York à Lake George, Un Monde végétal, Assements et coquillages, Le Nouveau-Mexique and Cosmos – allows us to understand a spirit who, beyond the relationship with one of the most powerful American gallerists of the time (an area not to be disdained when it happens especially today), interpreted an independent and sensitive figurative abstraction towards Nature and everything she loved to see and interpret artistically.
A modernism, perhaps more modern than the years we are living in, for eroticisms that are not trivial but designed to create new visions especially towards an art, against the existing stereotypes of the time, exercised and interpreted by women.
“Georgia O’Keeffe” in the exhibition of Paris at Centre Pompidou is this artistic process but not only, because a direct visit and vision to her expressive forms, without intermediate filters, are always the best solution that a human being could plan.

by Alain Chivilò

© Alain Chivilò