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night sky. The upper floors of the building look like steps, which are illuminated at night with bright lights. Electric companies encouraged architects to include lighting in their designs, which made the buildings look more impressive. A diagonal beam evokes movement. The ethereal smoke, which lines look like flowers, is contrasted against the straight lines of the skyscraper. Stieglitz's name is set in red lights by the
Scientific American Building and the composition may be seen as a double portrait, with O'Keeffe represented by the Radiator Building.
115:
127:
245:, made the same year, depicts another form of illusion. The skyscrapers in the painting converge vertically, creating a cavernous image with simple geometric shapes. The buildings tower above the city streets and the bright moon. "With the eyes of a modernist, she has simplified the internal articulation of these behemoths, thus emphasizing their dark, vertical silhouettes against the deep blue sky," states art historian
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93:. O'Keeffe said of her interest in painting cityscapes, "I know it's unusual for an artist to want to work way up near the roof of a big hotel, in the heart of a roaring city, but I think that's just what the artist of today needs for stimulus. ... Today the city is something bigger, grander, more complex than ever before in history."
266:
as O'Keeffe's "grandest statement on New York City". While made with a simplified style of
Precisionism, it is also a realistic and skillful depiction of an architectural building. O'Keeffe portrays the architectural elements of the Radiator Building, and what it looks like illuminated against the
240:
in 1926 that depicts an optical illusion that O'Keeffe saw of the
Shelton Hotel one morning where there appeared to be "a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky". An abstract painting made of rectangles and circles, it unifies the
164:, which reflects her opinion that "one can't paint New York as it is, but rather as it is felt." Between the city skyscrapers is a sunset with a moon and fluffy clouds. The tall buildings, in an angled composition, are in the shadows and a streetlight casts a bright halo.
57:, which gave her expansive views of all but the west side of the city. She expressed her appreciation of the city's early skyscrapers that were built by the end of the 1920s. One of her most notable works, which demonstrates her skill at depicting the buildings in the
108:, an American architect, said, "Not only is the skyscraper a symbol of the American Spirit—restless, centrifugal, seriously poised—but it is the only original development in the field of architecture to which we can lay unchallenged claim."
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man-made skyscraper and the natural effect of glaring sunlight and sunspots against the building. The composition, taken from the street level, reflects the sense of awe that O'Keeffe felt about skyscrapers.
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339:. At the time, she was unhappy in her marriage and with city life. Additionally, skyscrapers, which had been a symbol of America's success, became a symbol of its failure with the
104:, and other artists, she was interested in capturing "the mystique of the skyscrapers" that were a symbol of the modern world, and, at that time, a largely American phenomenon.
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O'Keeffe made about 25 drawings and paintings of New York City skyscrapers and cityscapes between 1925 and 1929. Her works are evocative of her own style.
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81:. They lived on the 30th floor with clear, unobstructed northern, eastern, and southern views of the city. The building was located between
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in 1928. Beyond the
Manhattan skyline and the East River, factories in Queens emit smoke, creating a smoggy atmosphere and a dismal image.
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In
November 1925, O'Keeffe moved into one of New York City's tallest skyscrapers, the Shelton Hotel, with her husband of one year,
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between 1925 and 1929. They were made after O'Keeffe moved with her new husband into an apartment on the 30th floor of the
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Eleanor Tufts; National Museum of Women in the Arts; International
Exhibitions Foundation (1987).
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562:. International Exhibitions Foundation for the National Museum of Women in the Arts. p. 82.
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388:"Georgia O'Keeffe (1887-1986): East River from the Thirtieth Story of the Shelton Hotel, 1928"
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O'Keeffe stopped depicting New York's skyscrapers and its cityscape in 1929, when she went to
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507:"Important Art by Georgia O'Keeffe: Radiator Building—Night, New York"
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Francisco MartĂnez
MindeguĂa, Universitat Politècnica de Catalunya.
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East River from the
Thirtieth Story of the Shelton Hotel
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East River from the
Thirtieth Story of the Shelton Hotel
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and developed an interest in making paintings of the
613:"Georgia 0'Keeffe, American Radiator Building, 1927"
390:. New Britain Museum of American Art. Archived from
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469:"Georgia O'Keeffe: New York Street with Moon, 1925"
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49:created a series of paintings of skyscrapers in
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417:"The Shelton with Sunspots, N.Y., 1926"
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38:1927, The Alfred Stieglitz Collection,
27:Series of paintings by Georgia O'Keeffe
591:Crystal Bridges Museum of American Art
299:O'Keeffe depicted a realistic view of
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260:Crystal Bridges Museum of American Art
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135:, in New York City, built in the 1920s
40:Crystal Bridges Museum of American Art
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363:List of skyscrapers in New York City
18:New York skyscrapers (O'Keeffe)
587:"Radiator Building—Night, New York"
833:New York skyscraper paintings
617:Arquitectura en Dibuixos Exemplars
36:Radiator Building—Night, New York,
25:
786:University of Virginia, 1912–1914
744:Cow's Skull: Red, White, and Blue
559:American women artists, 1830-1930
264:Radiator Building—Night, New York
63:Radiator Building—Night, New York
864:Georgia O'Keeffe Home and Studio
821: paintings (1916–1918)
807: paintings (1915–1927)
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238:The Shelton with Sunspots, N.Y.
197:The Shelton with Sunspots, N.Y.
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1034:Paintings by Georgia O'Keeffe
439:"The Appeal of Skyscrapers"
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826:Light Coming on the Plains
536:Minnesota Institute of Art
443:The University of Virginia
419:. Art Institute of Chicago
67:American Radiator Building
341:Wall Street Crash of 1929
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182:New York Street with Moon
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162:New York Street with Moon
1044:Culture of New York City
995:Georgia O'Keeffe - Hands
987:Georgia O'Keeffe - Torso
815: series (1916)
120:New York skyline in 1920
874:Georgia O'Keeffe Museum
473:Museo Thyssen-Bornemisz
252:O'Keeffe used light in
42:, Bentonville, Arkansas
712:My Shanty, Lake George
106:Claude Fayette Bragdon
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688:Red and Orange Streak
160:In 1925, she created
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696:Blue and Green Music
922:Katherine Stieglitz
133:10 East 40th Street
849:series (1960–1977)
799: (1915–1950s)
532:"City Night, 1926"
96:Like photographer
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34:Georgia O'Keeffe,
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998:(1919 photograph)
990:(1918 photograph)
950:Mabel Dodge Luhan
835: (1925–1928)
791:Charcoal drawings
782: (1903–1912)
736:The Lawrence Tree
699: (1919–1921)
569:978-0-940979-01-7
358:Early skyscrapers
329:Mabel Dodge Luhan
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16:(Redirected from
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916:Alfred Stieglitz
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945:Maria Chabot
928:Ida O'Keeffe
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723: (1926)
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620:. Retrieved
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447:the original
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396:. Retrieved
392:the original
331:'s ranch in
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87:49th Streets
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59:Precisionist
45:
35:
1011:Ghost Ranch
1006:(2009 film)
965:Paul Strand
900:Ghost Ranch
780:Early works
760:Summer Days
752:Jimson Weed
622:January 17,
596:January 17,
541:January 17,
516:January 17,
478:January 17,
453:January 17,
423:January 17,
398:January 17,
323:1929 events
1028:Categories
720:Black Iris
369:References
305:East River
271:Cityscapes
262:describes
243:City Night
212:City Night
73:Background
918:(husband)
804:Red Canna
672:Paintings
353:Cityscape
337:Southwest
301:Manhattan
236:She made
65:, of the
930:(sister)
878:Santa Fe
773:of works
680:The Flag
347:See also
979:Related
938:Friends
868:AbiquiĂş
857:Museums
704:A Storm
909:Family
888:Places
829:(1917)
771:Groups
763:(1936)
755:(1936)
747:(1931)
683:(1918)
566:
313:Queens
307:, and
293:, 1928
215:, 1926
200:, 1926
185:, 1925
153:Series
812:Blue
624:2017
598:2017
564:ISBN
543:2017
518:2017
480:2017
455:2017
425:2017
400:2017
85:and
83:48th
315:in
311:of
89:on
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