In criticizing a random piece of art I decided to go for something unusual and controversial, so I delved into the work of Georgia O’Keefe and her art Black Iris III. Her work is unusual and controversial because of the ways different people have interpreted her art.

The context is based around the historical tradition of the artist and the actual work of art. As an artist, Georgia O’Keefe is recognized for her presentational use of single, centrally positioned flowers enlarged to an unnatural size. This use is obvious in the work Black Iris III, whereas a predominantly black iris is presented with open calices and in full bloom. This painting was highly talked about because O’Keefe painted it during the time when Freud’s theories surrounding sexual connotations and eroticism were popular. It was thought that this painted iris looked similar to that of certain female reproductive organs. O’Keefe did admit that the flower’s anatomy was similarly representative of that of a woman’s own anatomy, but she in no way meant that to be expressed through her art. Georgia, herself, commented on these accusations by saying: 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 don’t. Overall, the essential characteristic of O’Keefe’s work, that gives it interest, strength, and depth, is the final interpretation that should be left open.

As well as being a picture of great beauty, the Black Iris III is a wonderful array of formal elements, structure, and some unusual techniques. The formal elements of line, shape, value, color, texture, and space are all represented throughout this piece. The use of outlines in the iris’ petals and the contour as the folds come together are an excellent use of visuals. In this piece, there is also vastness of shape- the petals, the way the shapes mimic an erotic flow. It is as if the flower takes on a womanly figure and entices the viewer into looking again and again. Value is also a very important component in the way the iris appears to people. Georgia uses soft shades to lightly cover the back of the flower and to create a dramatic difference in the tints of white and shades of black and purple. She also uses the shading effect to bring to the viewer’s eye from the bottom up and from light to dark. Color is also a very responsive quality in this art because it puts purple, black, and white in a context together so that they must mesh to create such an astounding effect. The black and purple are not a very hard mix of colors, therefore it blends well with the white and soft flow of the petals. The idea of texture is somewhat difficult to imagine because you know, in your mind, that it is a thick oil painting, but it looks as if the flower would be soft, supple, and smooth to the touch. It would be hard to imagine, for me, this painting close enough to touch, simply because I feel it is a soft, unrealistic moment, rather than a hard reality of oil and canvas. Finally, there is the idea of space, and how little O’Keefe leaves to wonder about. This work can be described as a very positive space, with every corner filled and mass occupying the entire canvas. This enlargement of flowers and the bringing them right up to one’s face is an excellent way to enhance a positive quality in art. Ideally, the fill of space leaves nothing to wonder about and allows the viewer to concentrate intensely on the flower, inside and out.

In allowing myself to delve into O’Keefe’s purpose and meaning behind this piece I find myself swaying toward a form of femininity and romanticism. The way she has centered the entire piece around the iris and it’s openness allows for a feel of softness and wonder- a type of romanticism. In this romanticism, also lies an instance of femininity with the look of sleek petals and soft blooms. I initially did not see the implied sexuality of her abstract piece, rather I saw what O’Keefe intended me to see the natural beauty of a blooming iris. It wasn’t until I read about implied sexual connotations did I see the curvature that could resemble female reproductivity. I interpret this piece as simply a natural, blooming flower that is shaped in an impressive way, that strikes me as beautiful. I, myself, like this piece because of O’Keefe’s use of colors, the intensity of the flower’s size, and the way O’Keefe has captured every detail of it’s structure.

O’Keefe has created this piece, Black Iris III, using oil canvas in a dimensional 22.9 x 17.8 cm setting. She painted this in 1926 in her New Mexico studio where she used the actual three- dimensional flower as her image. In fact, O’Keefe was so dedicated to this painting that she would not fulfill one of her pressing appointments until she finished this piece, for fear that the flower would wilt. This dedication to the flower’s appearance reflects visually to the viewer. In observing the Black Iris III, it is apparent that this is a perfect flower, with no brown edges or drooping petals. O’Keefe has painted a real and perfect flower that allows the individual to look at it’s natural beauty without any physically negative effects.

Overall, I found Georgia O’Keefe’s painting, Black Iris III, to be beautiful, sensuous, and full of romanticism. I found the colors, shades, sizes, and position of the flower to be intriguing and relative to it’s natural state. I look at this piece positively and see it as a wondrous work of art.

Bibliography

Taschen, Benedict. O’Keefe. Hohenzollernring 53, Germany. 1995 p.p. 32-38.