Georgia O Keeffe Red Canna

Georgia O'Keefe series (1915-1927)

Red Canna

Artist	Georgia O'Keeffe
Year	1924
Medium	Oil
Dimensions	73.vii cm × 45.vii cm (29.0 in × 18.0 in)

Georgia O'Keeffe made a number of Scarlet Canna paintings of the canna lily plant, first in watercolor, such as a ruddy canna bloom bouquet painted in 1915, but primarily abstruse paintings of shut-upwardly images in oil. O'Keeffe said that she made the paintings to reflect the fashion she herself saw flowers, although others have called her depictions erotic, and compared them to female genitalia. O'Keeffe said they had misconstrued her intentions for doing her flower paintings: "Well – I made you take time to look at what I saw and when you took time to really notice my bloom you hung all your own associations with flowers on my bloom and you write about my flower as if I recall and see what you lot recall and come across of the flower – and I don't."^[1]

O'Keeffe was not unaware of the sexual references in her work, but male fine art critics' misinterpretations of these references perpetuated a sexual understanding of her piece of work that was very different from her original intention.^[ii] She expressed herself through the employ of vibrant colors like crimson, yellow, and orange.

Overview [edit]

A gardener, O'Keeffe was oft inspired to make a dozen or more paintings of a specific bloom.^[3] She became interested in vivid colors and billowy petals of the canna lilies when she visited Lake George, New York in 1918 with Alfred Stieglitz.^[four] The Pennsylvania University of the Fine Arts states that "In these extreme close-ups she established a new kind of mod still life with no references to atmospheric effects or realistic details, reflecting her statement, 'I paint because color is significant.'"^[3]

As she evolved as an artist, her works became suggestive of female course, similar Inside Ruby-red Canna. Paul Rosenfeld, who owned ane of her Crimson Canna paintings, said "... there is no stroke laid by her brush, whatever information technology is she may paint, that is not curiously, arrestingly female in quality. Essence of very womanhood permeates her pictures."^[v]

Blood-red Canna (1915) watercolor [edit]

In 1915, O'Keeffe painted a watercolor of a bouquet of red canna blossoms on paper. The work, 19+ 3⁄eight by thirteen inches (49.2 cm × 33.0 cm), is among the collection of the Yale Academy Fine art Gallery.^[half-dozen]

Minor Cherry Canna (1919) [edit]

A pocket-sized painting of a close-upwardly of a ruby-red canna lily was made by O'Keeffe in 1919. The 8 in × half dozen in (20.iii cm × 15.2 cm) oil painting depicts the flower against a nighttime cloudy background. Owned by a individual collector, information technology is on extended loan to the Georgia O'Keeffe Museum.^[7] Information technology was stolen from the Santa Fe, New United mexican states museum by a security guard, William Crumpton, who pleaded guilty on Oct 26, 2004 to stealing paintings and cash from the museum and a government function. The painting, valued at equivalent to $717,319 in 2021, was recovered.^[8]

Blood-red Canna (1919) [edit]

Painted in oil on a thirteen in ×9+ 1⁄2 in (33.0 cm × 24.ane cm) board, the red canna lily framed past green and dark yellowish background colors at the top and right of the painting and nighttime blue at the bottom and left.^[9] The carefully blended colors and voluptuous curves reverberate her emerging personal style.^[4] Once owned by Pollitzer family members of North Carolina,^[9] it was displayed at Columbia College in South Carolina, where O'Keeffe was an instructor.^[10] The painting was caused by High Museum of Art of Atlanta by 2015.^[9] ^[10]

Within Crimson Canna (1919) [edit]

She painted an extreme shut-up of the canna lily entitled Inside the Red Canna in 1919.^[xi] It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the apply of contrasting shades of colors. The painting was made with cherry, orange, chocolate-brown, and pink paint.^[12] The 22 in × 17 in (56 cm × 43 cm) abstruse oil painting is endemic past private collectors.^[13]

O'Keeffe'south Reddish Canna (1923)

Brainchild so close upward—one is immersed reds swelling from whites to pinks soft velvet reds
bleed into liquid rubies teasing like a swirling
brim softly blowing in the
breeze—morning sunlight looking
through the vibrant claret
of life awakening the
morning light sun parting
vibrations of pounding hearts

—Prototype to Word: Fine art and Artistic Writing ^[14]

Ruddy Canna (1923) [edit]

The version fabricated in 1923 is an oil painting of a red canna lily confronting a yellow groundwork. The Lily nearly fills the 12 in × ten in (30 cm × 25 cm) canvas. It is owned by the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania.^[15]

Reddish Canna (1924) [edit]

External images
Red Canna, 1923, Pennsylvania Academy of the Fine Arts
Red Canna, 1927, Amon Carter Museum of American Art

The 1924 painting, a close-up of the flower with streaks of calorie-free blueish and grayness,^[16] immerses the viewer in the blossom, and is meant to convey the way that O'Keeffe experiences it.^[17]

In the 1920s it was believed to be amidst the collection of Flora Stieglitz Strauss and possibly that of O'Keeffe in 1953. It was in private collections until 1993, when it was caused by Sotheby's in New York. It was last recorded to be in the private collection of A. Alfred Taubman.^[16]

Red Canna (1925–1926) [edit]

She painted the interior of the flower in reds, oranges, yellows, and pinks. Painted in oil, the abstract painting is 36 by 30 inches (91 cm × 76 cm). It is owned by the University of Arizona Museum of Art.^[18]

Red and Orange Canna (1926) [edit]

Another shut-up painted in oil, the 20 in × xvi in (51 cm × 41 cm) painting is amid the collection of the Georgia O'Keeffe Museum.^[19] ^[20]

Red Canna (1927) [edit]

In 1927, O'Keeffe made a painting of a shut-upwards of the wide red petals of the canna lily. Painted in oil, it is 36+ 1⁄8 by 30+ 1⁄8 inches (91.8 cm × 76.5 cm). Once amidst private collections, it is now owned past Amon Carter Museum of American Art in Fort Worth, Texas.^[21]

References [edit]

^ Claxton, Mae Miller (Bound 2003). "'Untamable Texts': The Art of Georgia O'Keeffe and Eudora Welty". Mississippi Quarterly: The Journal of Southern Cultures: 315–30 – via EBSCO Host.
^ Chave, A.C. (Winter 1990). "O'Keeffe and the Masculine Gaze". Art in America. 78: 114 – via EBSCOhost.
^ ^a ^b "Carmine Canna". Pennsylvania University of the Fine Arts . Retrieved Jan 13, 2017.
^ ^a ^b "Red Canna". High Museum of Fine art . Retrieved January xiii, 2017.
^ Marcia Brennan (August 2002). Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics. MIT Printing. pp. iii, 86. ISBN978-0-262-52336-3.
^ "Creative person: Georgia O'Keeffe, American, 1887–1986 Ruddy Canna". The Yale Academy Fine art Gallery . Retrieved Jan 13, 2017.
^ "Red Canna, (painting) – 1919, extended loan to Georgia O'Keeffe Museum". Smithsonian Institution Research Data System (SIRIS) . Retrieved Jan 13, 2017.
^ Steve Barnes (Oct 29, 2004). "National Briefing: Southwest: New Mexico: Ex-Guard Admits O'Keeffe Theft". The New York Times . Retrieved Jan 13, 2017.
^ ^a ^b ^c "Red Canna, (painting) – 1919". Smithsonian Institution Enquiry Information Organization (SIRIS) . Retrieved January 13, 2017.
^ ^a ^b Mary Eloise H. Leake (Dec xiii, 2015). "100 years agone, Georgia O'Keeffe came to the South and was forever inverse". The Anniston Star. Anniston, Alabama. Retrieved January 13, 2017.
^ Barbara Buhler Lynes; Jonathan Weinberg; Georgia O'Keeffe Museum (nine March 2011). Shared Intelligence: American Painting and the Photo. Univ of California Press. p. 92. ISBN978-0-520-26906-4.
^ Marcia Brennan (August 2002). Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics. MIT Press. p. 7. ISBN978-0-262-52336-iii.
^ "Inside Red Canna, (painting) – 1919". Smithsonian Establishment Research Data Organisation (SIRIS) . Retrieved January xiii, 2017.
^ Kathleen Walsh-Piper (2002). Paradigm to Word: Art and Creative Writing. Scarecrow Press. pp. 28–29. ISBN978-0-8108-4307-three.
^ "Red Canna, (painting) – 1923". Smithsonian Institution Research Information System (SIRIS) . Retrieved January 13, 2017.
^ ^a ^b "Reddish Canna, (painting) – 1924". Smithsonian Institution Research Data System (SIRIS) . Retrieved January thirteen, 2017.
^ David Taffet (November 19, 1999). "Still Life Resurrection". Dallas Voice. Dallas, Texas. Retrieved January 13, 2017 – via UNT Digital Library, The Academy of North Texas Libraries.
^ "Ruddy Canna, (painting) – 1925/1926". Smithsonian Institution Research Information Organisation (SIRIS) . Retrieved Jan 13, 2017.
^ "Reddish Canna, (painting) – 1926". Smithsonian Institution Research Data System (SIRIS) . Retrieved January 13, 2017.
^ "Nearly the University of Arizona Museum of Art". University of Arizona Museum of Art . Retrieved Jan 13, 2017. The wide-ranging collection boasts over 6,000 paintings, sculptures, prints, and drawings. Highlights include the Altarpiece of Ciudad Rodrigo, The Visitation by the Principal of the Catholic Kings, Jackson Pollock's Number twenty, Marker Rothko's Green on Blue (Earth-Green and White), and Red Canna by Georgia O'Keeffe.
^ "Red Canna, (painting) – 1927". Smithsonian Institution Enquiry Data Organization (SIRIS) . Retrieved January 13, 2017.