Friday, January 21, 2011

Alice

 This goes out to the Cunning Runt because it's that time again.  :-)  Stay off of ladders after ice storms for me, will ya?  :-)

Georgia on my Mind




Alfred Stieglitz was 54 when Georgia arrived in New York...23 years her senior. Educated in Berlin, he had studied engineering and photography before returning to the States at the turn of the century and opening the 291 gallery. He pioneered the art of photography, and single-handedly introduced America to the works of Picasso, Matisse, and Cezanne at the gallery...along with publishing his well respected "Camera Works" magazine.
Shortly after her arrival, Alfred took Georgia up to the Stieglitz family home at Lake George in the Adirondack Mountains. They would return to the lake home each summer for years to come. Georgia produced many paintings of the Lake George countryside during these years.
Stieglitz had become obsessed with photographing Georgia since the beginning of their relationship. He would take over 300 portraits of her between 1918 and 1937. Most of the more erotic poses would be in the first few years of their marriage.  Read more here


  Georgia O'Keeffe—Hand and Breasts
1919

This photograph, one of more than 300 images Stieglitz made of O'Keeffe (1887–1986) between 1917 and 1937, is part of an extraordinary composite portrait. Stieglitz believed that portraiture concerned more than merely the face and that it should be a record of a person's entire experience, a mosaic of expressive movements, emotions, and gestures that would function collectively to evoke a life. "To demand the portrait that will be a complete portrait of any person," he claimed, "is as futile as to demand that a motion picture be condensed into a single still."



The photographs of O'Keeffe taken in those first twenty four months document the most intense, passionate, and complex transaction ever recorded between a man and woman by a camera. Stieglitz's portrait embraces the most public and private extremes of O'Keeffe's being: icons of a remote, enigmatic woman that merged with her paintings to create her identity as artist together with sexual explorations of her body so intimate they have yet to be published







Alfred Stieglitz and Georgia O'Keeffe
Arnold Newman
1942

   Sources:


(1997.61.19) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art)


Wednesday, January 19, 2011

Picture for One Moment

This is one of the photos I sneaked at The Whitney, where there is a no photograph rule.

 George Segal (1924–2000), Walk, Don’t Walk, 1976. Plaster, cement, metal, painted wood, and electric light, 109 × 72 × 74 inches (276.9 × 182.9 × 188.9 cm) overall. Whitney Museum of American Art, New York

Correction

In my Hopper post, I incorrectly attributed a painting called Sailors and Floosies to Charles Demuth. It is in fact by Paul Cadmus.

Tuesday, January 18, 2011

Pagan Sphinx Entertainment Highlight

Fool or Fools may refer to:

 



Still on Hopper

It is said that Edward Hopper's painting Sunday Morning was the inspiration for the Velvet Underground song of the same title.



Sunday, January 16, 2011

A Postcard from New York City

WP and I just returned from three days in New York City. I am all  lit up about the exhibition Modern Life: Edward Hopper and His Time.


This one really wowed me. I'd never seen it before. It's as close to a portrait than any other Hopper I've seen.  A ballerina mending a slipper?

More on the exhibition in the next couple of days.  It's good to be back in Massachusetts, though much colder than the city. We stayed in Soho and got around Little Italy and Chinatown a good deal.  The hustle and bustle is interesting to watch as is the experience of looking squarely into a trash bin full of live frogs!  :-) 


And what do the Smiths have to do with New York City? Nothing...and...everything.

Smile as if you're Mona Lisa, kids.

"And if you've got five seconds to spare I'll tell you the story of my life..."

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