What was georgia okeeffe most famous painting

O Keeffe painted the Flag in when she was recuperating in San Antonio in a ranch owned by her friend, from a bout of influenza that had killed many then. This painting portrays a wretched and withered flag, lacking all the stars and stripes it was previously embedded with, fluttering aimlessly, smeared in blood.

Through this work of art, Keeffe intends to express her trauma and discontent against the brutality of the First World War as her brother also had been sent to distant lands to fight. This was painted at a crucial point when she was away from her husband for some time and lived in New Mexico.

Jack in the Pulpit No. Being immensely fascinated by these herbaceous plants of North America, this was a part of the six Jack-in-the-Pulpit paintings sketched by Keeffe in The spadix has been given a magnified view against a dark purple interior. The element of sensuality is present here too. This is a series of three paintings created by Keeffe, bearing testimony to her magnificent work of art. She enjoyed the beauteous scenery of the plains of Texas that she enjoyed during her walking sprees.

The sunrise, sunset, and moonrise which she was floored by were put into her canvas. She has not depicted a general view of sunrise but has portrayed it differently by adding dashes of indigo blue against the background of the rising sun. The theme of abstraction is seen in all the three paintings with the first, two being lighter than the third one. During her visit to New Mexico in , she often came across a lot of crosses as she treaded along the desert.

This experience of hers led to the Black Cross which is a perfect replica of the ones she saw, wooden, big crosses held strongly against each other. Behind the crosses lay the hills that seemed to stretch through eternity.

Her artistic genius is not just confined to the list of paintings mentioned above but is rather unending including the series of skyscraper paintings like New York Street with Moon, and the Radiator Building-Night, New York; Blue and Green Music, host of lily paintings and the series continues. In a cultural atmosphere initially titillated and gradually transformed by his theories, art and its critical reception - like many other aspects of modern life - where invariably, and indelibly colored by Freudian consideration.

Many claims that the images which Georgia O'Keeffe created when painting flowers, was work which was highly sexual, and many went as far as to say it was an erotic art form; but O'Keeffe rejected that theory consistently.

In an attempt to move the attention of her critics away from their Freudian interpretations of her work, she began to paint in a more representational style. In her series on New York, O'Keeffe excelled in painting architectural structures as highly realistic and expertly employed the style of Precisionism within her work. Object portraiture of this kind was popular amongst the Steiglitz circle at the time and greatly influenced by the poetry of Gertrude Stein.

In , seeking solitude and an escape from a crowd that perhaps felt artistically and socially oppressive, O'Keeffe traveled to New Mexico and began an inspirational love affair with the visual scenery of the state. For 20 years she spent part of every year working in New Mexico, becoming increasingly interested in the forms of animal skulls and the southwest landscapes. While her popularity continued to grow, O'Keeffe increasingly sought solace in New Mexico.

Her painting Ram's Head with Hollyhock encapsulates so much novelty while still maintaining with her classic aesthetic of magnifying and showing the beauty in small, natural details. While her interest in the southwest increased, so did the value of her paintings in the New York galleries.

She was featured in two one-woman retrospectives at the Art Institute of Chicago and The Museum of Modern Art in Manhattan in the 40's, becoming the first woman to ever have a retrospective at the latter. She developed an obsessive interest in formations of rock near her home in New Mexico and spent hours painting in the sun and wind. In O'Keeffe's husband Stieglitz suffered a cerebral thrombosis and she moved back to New York for three years after his death to settle his estate before permanently settling in New Mexico.

With the loss of Stieglitz came the lessening of her public exposure. O'Keeffe became once again interested in architectural forms, this time focusing on details like her patio wall and door. Her painting Ladder to the Moon marked yet another shift in her work which many interpreted as a self-portrait that depicted the transitory nature of her life. Others viewed it as a religious statement that showed a link between the earth and cosmic forces above it.

Adding onto a history of abstraction, in the early s O'Keeffe painted an extensive collection of aerial cloudscapes inspired from her view from the windows of airplanes.

In the Whitney Museum of American Art began the first retrospective career of her work in New York since which greatly revived her career. There is an absence of context and background behind the two giant poppy flowers. Thus they are presented in a new light as pure abstracts. The juxtaposition of skeletal, flora, and landscape images brought renewed interest in her art. In her later years Georgia was captivated by the views she saw from the airplane window while traveling around the world.

This led to her famous cloudscapes series which depict clouds seen from above.