I’ve produced Christmas prints as gifts for friends for many years and this year I decided to offer the image for purchase. The Christmas 2017 Print is printed 18X24 inch archival paper. The dried flower images I had experimented with in fall were interesting, and seemed to fit in well as the subject for a Holiday image.
Christmas 2017 Print • 18″X24″
The interest in capturing images of dried flowers was many layered. I took photographs in Prague of the Rose Gardens, once part of the Royal Botanical Gardens and I was intrigued by all the aesthetic and technical issues. A severe storm damaged and destroyed many plants and flowers, which made their fragility more apparent and drawing attention to their short “life” spans. I soon started to see some of the same qualities that Georgia O’Keeffe described.
A flower is relatively small. Everyone has many associations with a flower – the idea of flowers. You put out your hand to touch the flower — lean forward to smell it — maybe touch it with your lips almost without thinking — or give it to someone to please them. Still — in a way — nobody sees a flower — really — it is so small — we haven’t time — and to see takes time, like to have a friend takes time… So I said to myself — I’ll paint what I see — what the flower is to me but I’ll paint it big and they will be surprised into taking time to look at it — I will make even busy New-Yorkers take time to see what I see of flowers… Well — I made you take time to look at what I saw and when you took time to really notice my flower, you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower — and I don’t. Georgia O’Keefe
In 1928, Time magazine wrote of her paintings,
“when Georgia O’Keeffe paints flowers, she does not paint fifty flowers stuffed into a dish. On most of her canvases there appeared one gigantic bloom, its huge feathery petals furled into some astonishing pattern of color and shade and line”
[Scroll images across]
Photographer Alfred Stieglitz, O’Keeffe’s husband, promoted her paintings and first offered up the theory that the paintings represented a woman’s vulva. Tanya Barson, curator at Tate Modern, stated that male art critics perpetuated this assertion. O’Keeffe consistently and vigorously denied the validity of their Freudian interpretations of her art.