I was very excited to hear that there would be a large Georgia O’Keeffe exhibition at the Tate Modern last month. Her colourful, abstract paintings that draw inspiration from flowers, woodland and desert landscapes, and cityscapes have long been an inspiration for me, so I was really pleased to finally visit the show this past weekend.
The first room of the exhibition contained some of O’Keeffe’s early works, including some abstract black and white charcoal drawings. O’Keeffe stated that ‘I decided not to use any other colour until it was impossible to do what I wanted in black and white.’ As someone who also designs everything in black and white before adding colour at the very end of the process when all designs are finalized (read more about my design process here), I found this very interesting.
Special No.9, 1915, and No. 15 Special, 1916-17 by Georgia O'Keeffe
The next section of the exhibition contained a series of paintings that were purely abstract explorations of colour and form, and were said to be inspired by music in a similar way to that of Kandinsky’s paintings. I also really enjoyed this section as it got me thinking about the idea of abstraction in art and design for it’s own sake, rather than in reference to a physical object or process that inspired it (which is what the vast majority of my designs are about).
Blue and Green Music, 1919/21 and Grey Lines with Black, Blue and Yellow, c.1923 by Georgia O'Keeffe
Next up was quite possibly my favourite section of the exhibition, which were the paintings inspired by the landscape around Lake George in upstate New York. This is where the Stieglitz family had their summer house, which O’Keeffe visited with Alfred Stieglitz on several occasions. I loved the beautiful blue and green colour schemes (a palette I’m particularly fond of, as seen in the Woodland and Under the Sea collections), and ambiguous nature of these paintings.
From the Lake No.1, 1924 and From the Lake No. 3, 1924 by Georgia O'Keeffe
At long last I reached a room of the floral paintings that O’Keeffe is best known for. I got the sense that the curators of this exhibition purposely downplayed this aspect of O’Keeffe’s work as (I assume) they were aiming to portray her as a multifaceted artist that paints more than just pretty flowers, which is what some people may see her as. It is a sound approach but nevertheless, I would have liked to see just a few more flower paintings as they were stunningly beautiful and I love large, monumentalized floral imagery (as evidenced by my Floral Explosion rug collection).
Oriental Poppies, 1927 by Georgia O'Keeffe
Much of the rest of the exhibition was dedicated to paintings of the beautiful, dramatic desert landscape of New Mexico. These arresting images got me thinking about the desert as a natural landscape I know little about (despite living in one for years as a child in the Middle East!), and haven’t considered using in my work before. I’ve definitely noted it down as an area to explore for future collections - watch this space!
Rust Red Hills, 1930 by Georgia O'Keefe
-Belma Kapetanovic