museum of fine arts houston okeeffe lithograph

It feels magical as if the same images were still dramatic enough to keep capturing, even over decades. The most captivating part of the exhibition is seeing a painting such as Small Purple Hills, (1934) transform into a photograph nearly 40 years later. However, they provide an outline of her sensibilities in terms of form and function.Īs the wall labels encourage, O’Keeffe’s interest in “aesthetic order and emotional expression” proves true across her oeuvre. The MFAH offers a democratic space where students and teachers can develop, practice and articulate these habits of mind. The drawings are minimalist, perhaps unfinished, but certainly not as powerful of an experience as the other works. Art Painting Perspective Discussion through works of art encourage how to approach ambiguous and complex ideas, thoughts, and feelings. The photographs of her (mostly) Southwestern surroundings are both juxtaposed and contextualized by her paintings and drawings. Sometimes the photos come first, often they come later - even decades later. It’s all good, but even better when there is a painting to remind us of how reality was translated into art, as in White Flower, (1929). The 1922 text in which O’Keeffe wryly noted that she’d been much photographed a text written at Stieglitz’s prompting already alluded to an artistic interest in photography that would. And of course, flowers, as with the photographs in the Jimsonweed series of 1964-68.

She has a series similar to Claude Monet’s water lilies and haystacks, but with photos: Big Sage, (1957) has its different versions, as do her Chow Chow dogs.

Museum of fine arts houston okeeffe lithograph