It’s been raining for nearly a week which has led to my spending way too much time on the internet. But how can I remove myself from the computer when I have all of these lovely photos to look at? I am almost certain that the Yale Beinecke Library could count me as their biggest lurker. Over the weekend I was looking through the Alfred Stieglitz and Georgia O’Keeffe Archive of photos, fine art, and manuscripts which document the lives of both prolific artists. Alfred Stieglitz was a photographer/publisher/gallery owner who promoted artists and writers of all types. He married O’Keeffe in 1924, before she realized her passion for the American Southwest which eventually led to a marriage of physical separation as she spent much of her time living and building her art career there. After Stieglitz passed away in 1946, O’Keeffe collected all personal and professional belongings and gave them to Yale. I will admit that I am not a fan of all of Georgia O’Keeffe’s work, but some of it is a little Native American and desert-like which I can appreciate. I much more prefer the work that isn’t so straightforward. It’s these works of art by various artists from the collection of Stieglitz/O’Keeffe that I’m really into.
Collage on shirt front by unknown artist, 1963. This reminds me of old Vivienne Westwood.
Titled “Sea Creatures,” this watercolor was made by Pamela Colman Smith who was an artist/writer/illustrator known for designing the Rider-Waiste deck of divinatory tarot cards for the mystic Arthur Edward Waite. Makes sense, no? I didn’t notice the women in the waves until after I’d been staring at the watercolor for a while.
Katherine Stieglitz, daugher of Arthur Stieglitz (I believe from his first marriage.) I love the gigantic bow in her hair and that she is sitting amongst a pile of autumn leaves. It is not a typical kid-like photo at all, which I like. Photographed in 1910.
This is the kind of Georgia O’Keeffe work that I like. “Detail, An American Place” 1939.
“Self-Portrait” painting by Katharine N. Rhoades. She was an artist who supported Stieglitz’s belief that “The woman’s true self was partly a child self.” 1915