This beautiful abstract piece is the inside and extremely close up view of a flower. The darkness is surrounded by a halo of light, playing off of the shapes of the petals while enhancing the color and adding depth to the darkness. This is a piece from a series of 6 paintings, each one increasing in detail.
Robertson calls O'Keefe's Jack-in-the-Pulpit series "O'Keeffe's most complete statement of the relationship between abstraction and representation."
O’Keeffe (Nov. 15, 1887,- March 6, 1986,) She studied art in Chicago and New York City. By the early 1920s, her highly individualistic painting style had emerged. Her subjects were often enlarged views of the skulls and other bones of animals, flowers and plant organs, shells, rocks, mountains, and other natural forms. Her mysteriously suggestive images of bones and flowers set against a perspective less space have inspired a variety of erotic, psychological, and symbolic interpretations. She is regarded by critics as one of the most original and important American artists.
“It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colors put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.”
“I long ago came to the conclusion that even if I could put down accurately the thing that I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at – not copy it.”
-Georgia O’Keeffe, 1976