Nghệ sĩ: Georgia Totto O'keeffe
ngày: 1926
kích thước: 51 x 69 cm
Kỹ thuật: Oil On Canvas
Excerpts from the essays written for O'Keeffe's 1927 exhibition which featured Blue Wave Maine (1926), reveal the extent to which this ideology permeated O'Keeffe's work. Oscar Bluemner wrote lyrically of O'Keeffe: "All nature seen as organic living flesh – form transposed into line and color – surface throbbing with pulse – line quivering with intense inner life – color rigorously restricted with corresponding significance." Charles Demuth similarly extolled, "Colour as colour, not as volume, or light, - only as colour.... In her canvases each colour almost regains the fun it must have felt within itself, on forming the first rain-bow." . By the end of the summer, O'Keeffe went to Maine in order to get away from the distractions and resentments associated with Stieglitz's summer home. Although Stieglitz followed, imploring her to return, she stayed at her ocean-side retreat for a month before capitulating to the demands of life. The ocean at York Beach was a world away from the stressful life at Lake George as well as her hectic one in New York. She "loved running down the board walk to the ocean – watching the waves come in, spreading over the hard wet beach – the lighthouse steadily bright far over the waves in the evening when it was almost dark (Full Bloom: The Art and Life of Georgia O'Keeffe, p. 287). Here she painted Blue Wave Maine in which the ocean appears as a reservoir of peace and contemplation, harmony and spirituality. The sublime, ethereal quality of the fluidly swirling hues, a dramatic contrast to the sense of sheer weight of the earlier Lake George picture.
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