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Stieglitz was delighted with Georgia’s drawings and that is how O’Keeffe’s long career was started. You can imagine the headwind Stieglitz worked in, with a few samples of how conservative the American art world was at the time. According to Michael Kimmelman in an article in New York Times, Museum of Modern Art (MoMA) described impressionism as late as 1908 as a joke, invented in the absinthe boutiques of Paris. Five years after that, a curator at the museum was almost fired for suggesting to buy a painting of Cézanne. MoMA also declined a donation offered by Gauguin.
As a mentor, husband and protector Stieglitz became the most important figure in O’Keeffe’s life during 30 years. He provided her with both self-confidence and economical freedom to follow her artistic ideas from 1918 and arranged O’Keeffe’s almost annual exhibitions at his galleries 291, The Intimate Gallery and An American Place.O’Keeffe seems to have had a genuinely spiritual interest. She read Camera Work too, from 1915 (even older numbers) and the empathy that Weber felt with the objects and his fourth dimension interested her very much.
She was also interested in the thoughts symbolist writer Maeterlinck had about synaesthecy - when some people perceive letters, numbers, words and smells to have innate colours, while others can taste music or imagine time to have a fixed special form.
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The color of white was a popular symbol for purity both in literature and art. According to Stieglitz ‘white’ was the highest you could call someone and that is what he called Georgia. Whiteness represented eternity, according to Maeterlinck. |
In Stieglitz’ circle, there were many believers of the fourth dimension, described here by Max Weber:
The consciousness of a great and overwhelming sense of space-magnitude in all directions at one time… It is real, and can be perceived and felt. It exists outside and in the presence of objects, and is the space that envelops a tree, a tower, a mountain, or any solid; or the intervals between objects or volumes of matter if receptively beheld. It is somewhat similar to color and depth in musical sounds. It arouses imagination and stirs emotion. It is the immensity of all things. It is the ideal measurement, and is therefore as great as the ideal, perceptive, or imaginative faculties of the creator, architect, sculptor or painter.
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