Art-Okeeffe-Jimson Weed/White Flower No. 1 TB2

Please drop this item in rural OR Premium Member Only caches.  Do not place it in an urban cache or abandon it at a caching event.  Transport the bug in the original plastic bag for as long as the bag lasts; the bag keeps the trackable clean, protects the number and prevents tangling with other items.  Otherwise, take the travel bug anywhere you wish.  No permission is needed to leave the U.S.

Photos in the travel bug logs are appreciated.  I will be re-post them here, where they can be seen by other cachers.

I have already released series of art-themed travel bugs based on works I have seen in person.  I will continue the series mostly including works I simply admire.  There will also be famous works or works by famous artists that I otherwise do not particularly care for, but they are….well,..famous.  My disdain extends to most Modern Art and a good amount from the Pop Art movement.

One of the first female painters to achieve worldwide acclaim from critics and the general public, Georgia O'Keeffe was an American painter who created innovative impressionist images that challenged perceptions and evolved constantly throughout her career. After studying at the School of the Art Institute of Chicago she attended the Art Students League in New York, studying under William Merritt Chase. Though she impressed the league with her oil painting "Dead Rabbit with Copper Pot," she lacked self-confidence and decided to pursue a career as a commercial artist and later as a teacher and then head of the art department at West Texas A&M University. At that time she became acquainted with a landscape that would become iconic within her work, the Palo Duro Canyon.

O'Keeffe did not stop producing charcoal drawings and watercolors during her hiatus, some of which were seen by Alfred Stieglitz, her future husband. Stieglitz was a successful photographer and modern art promoter who owned the 291 Gallery in New York City. He was struck by the sincerity within her work and organized her first solo show in 2017, composed of oil paintings and watercolors completed in Texas.

After their marriage, O'Keeffe became part of an inner circle of American modernist painters who frequently showed in Stieglitz's gallery. Her work shifted towards oil paintings which appeared to be magnified natural forms. In 1925, her first large-scale flower painting was exhibited in New York City. Petunia marked the beginning of a period of exploration on the flower theme that would continue throughout her career. By magnifying her subject, she emphasized shape and color and brought attention to the tiny details within the flower.

In 1929, seeking solitude and an escape from a New York 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 interest in the southwest increased, so did the value of her paintings in the New York galleries.

In 1946 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.  Though her eyesight became compromised in the 1970s, she continued working in pencil and charcoal until 1984 and also produced clay pots and a watercolor series. In 1986 she died at her home in Santa Fe, New Mexico and requested her ashes be scattered over the top of Pedernal Mountain.

While her work varied between the literal portraits, abstractions and landscapes, O'Keeffe's work is still most identified by her iconic flower paintings. In 2014 the Georgia O'Keefe Museum sold a floral painting for $44 million dollars at auction setting the record for artwork sold by a female artist. The piece, titled Jimson Weed/White Flower No.1 was painted in 1932 and is an iconic representation of a large-scale flower.