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Two Calla Lilies on Pink. 1928 Georgia O'Keeffe (American, 1887–1986) Georgia O’Keeffe once remarked, “What is my experience of the flower if not color?” This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues.
This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil.
O'Keeffe creates a perfect balance of form, executed in a muted palette of whites and greys to emphasise the natural harmonies of the flowers and of nature. Two vivid yellow stamens pierce the lilies, the vivid splash of colour offsetting the pure white petals of the blossom.
3 de oct. de 2002 · The exhibition Georgia O'Keeffe and the Calla Lily in American Art, 1860-1940, is the first to examine the great appeal of this exotic flower's as a subject for American painters and photographers. It presents a visual feast of 54 depictions of the calla by 33 different artists, such as Imogen Cunningham, Charles Demuth, Marsden Hartley.
This exquisite artwork by Georgia O'Keeffe skillfully captures the elegance and grace of two calla lilies set against a warm pink backdrop. With a serene color palette and meticulous attention to detail, the painting transports you to a world of tranquility and sophistication.
In the present work, which is her most sophisticated of 1923, O'Keeffe presents two entwined calla lilies set against a pale gray background. The closely cropped composition, which removes the flowers from any outside context, forces the viewer to focus on the blossoms well-delineated forms.
This painting of two calla lilies is an extraordinary example of her floral compositions, made of sweeping, broad waves of subtly blended hues. The white petals, highlighted in green, are arranged against a pink backdrop, and from each one emerges a bright yellow pistil.
