Other than skulls and roses, I frankly did not discover Georgia O'Keeffe until 1987, about a year after her death. Someone told me my flowers and general point of view reminded them of her and showed me her "100 Flowers" book. I was floored. A couple of years later I was in New York and started working on some cityscapes. At MOMA saw her NY book. WTH? More like hers than I could explain. Talking point of view here.
Then just a couple of weeks ago I was in her country and fell in love with what I called dancing trees. Cottonwood stands in winter. We went to a new exhibit at G O'K Museum in Santa Fe. YEP. OK mine won't look like hers, but DAMN!
So here, from Ghost Ranch where she lived is my newest-to-be. . I know she never painted an embracing cat/raven at moonrise.
When I'm feeling woo-woo I think a bit of her spirit found me after her death ....
That or she was as absurdly far-sighted and maybe amblyopic as I am.
Finished. I had thought there would be additional layer(s) of wildflowers but I soon realized precious little, if anything, would be gained, so I simply added more wild blackberries and suggestion of pastures in the land beyond.
Acknowledging the nature of crows and their relatives, the title has been modified, grabbing lunch seeming most likely.
The canvas is 12 x 10 inches, the palette Quin. Magenta, Cadmium Red Med, Azo yellow, Cadmium Orange, Cerulean Blue, Pthalo Blue, Pthalo Green, Unbleached titanium and Titanium Dioxide; Ivory Black. While some black was worked into the birds' bodies, the "black" is primarily the pthalos and magenta.
Wild blackberries added (liberties taken) ... one more layer to go (I think) plus some tweaking here and there. This was never meant to be so "complicated" a piece but ...
