TABLE OF CONTENTS

PRINT January 1988

“OSTENTATIOUS PERFECTIONISM”

INGRID SISCHY What interests me about Georgia O'Keeffe: One Hundred Flowers is that these paintings are among the least private works of art I've ever seen. They're so open, as are the famous early photographs O'Keeffe's husband Alfred Stieglitz took of her, not at all like the isolated hermit figure she became.

NICHOLAS CALLAWAY At this time in her life O'Keeffe laid herself bare, literally, emotionally, and artistically. Then, in later years, she became reclusive to the same degree that she had opened herself up early on.

I.S. It must have taken every drop of imagination and technology while on press to achieve this sensation of newly pressed flowers—or, more accurately, of newly pressed reproductions of paintings of flowers, giant ones and minikins. It looks like the kind of project that became an obsession.

N.C. There is definitely an aura of obsession about this book, in part because

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