|Georgia O'Keeffe, Drawing XIII, 1915, Metropolitan Museum of Art, copyright artist's estate.|
So the well-known story goes, Georgia O'Keeffe had sent the drawings to a friend in New York, who had seen fit to show them to Stieglitz, who immediately displayed them. When the artist found out she furiously demanded they be taken down (according to legend, at least), and so began a long and often rather difficult relationship between this pair of driven individuals.
|Georgia O'Keeffe, Drawing VIII, 1915, Whitney Museum of Art, copyright artist's estate.|
Composition ... expresses the idea upon which the method here presented is founded - the "putting together" of lines, masses and colors to make a harmony. ... Composition, building up of harmony, is the fundamental process in all the fine arts. ... A natural method is of exercises in progressive order, first building up very simple harmonies ... Such a method of study includes all kinds of drawing, design and painting.
|Georgia O'Keeffe, Drawing XX, 1915 National Gallery of Art (US), copyright artist's estate.|
It was the combination of intimacy and design that I think appealed to Stieglitz. Here was an artist working in a modern idiom, and an artist of a kind he had been particularly looking out for: a woman. With his encouragement, O'Keeffe became over the next few years a formidable modern artist. Then came the flowers...
Look out for the Georgia O'Keeffe exhibition this summer at Tate Modern, starts July 6.