Georgia O'Keeffe citations

O'Keeffe's contribution (1939) to the exhibition catalogue of the show An American place (1944)
1930 - 1950
Source: Georgia O'Keeffe
Contexte: 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.

1970 - 1986, Some Memories of Drawings (1976)
Contexte: It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint. …  I found I could say things with color and shapes that I couldn't say any other way — things I had no words for.<!-- Also quoted in Georgia O’Keeffe: Nature and Abstraction (2007), edited by Richard Marshall, p. 13

Variante: To create one's world in any of the arts takes courage.

All those entire words piled on top of that poor little mountain seemed too much.
1970 - 1986, Some Memories of Drawings (1976)

In notes to Anita Pollitzer, Abiquiu, New Mexico, (after February, 1968); as quoted in The Complete Correspondence of Georgia O’Keeffe & Anita Pollitzer, ed. Clive Giboire, Touchstone Books, Simon & Schuster Inc., New York, 1990, p. 324
1960s

quote in Portrait of an Artist: A Biography of Georgia O'Keeffe, Laurie Lisle, Viking Press, New York, 1981, p. 180
1980s

1970s, Some Memories of Drawings (1976)

Quote in a letter to Sherwood Anderson, October 1923; as quoted in Georgia O'Keeffe: A Life, Roxana Robinson, University Press of New England, 1999
1917 - 1929
Contexte: I have been thinking of what you say about form... I feel that a real living form is the natural result of the individual’s effort to create the living thing out of the adventure of his spirit into the unknown.... and from that experience comes the desire to make the unknown known. By unknown I mean the thing that means so much to the person that he want to put it down - clarify something he feels but does not clearly understand... Making the unknown known.... if you stop to think of form as form you are lost.

In a letter to Mrs. Eleanor Roosevelt, February 10, 1944; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 227-28
1930 - 1950

In a letter to Mabel Dodge Luhan, Taos, August 1929; as quoted in Voicing our visions, – Writings by women artists, ed. Mara R. Witzling, Universe New York, 1991, p. 226
1917 - 1929

Source: 1917 - 1929, Letter to Ettie Stettheimer' (August 1929), p. 227

In a letter to Mabel Dodge Luhan, New York 1925; as quoted in Voicing our visions, – Writings by women artists, ed. Mara R. Witzling, Universe New York, 1991, p. 224
1920s

About the summer of Art Students League, New York 1913/14
1970s, Some Memories of Drawings (1976)

About climbing the Palo Duro Canyon, 1916
1970s, Some Memories of Drawings (1976)

A Second Outline in Portraiture (1936), as quoted in Marsden Hartley, Gail R. Scott - Abbeville Publishers, Cross River Press, 1988, New York, p. 167
1930s