This compilation of essays writen about Georgia O'Keeffe is varied and thought provocing if you are allready somewhat educated in her history. It is not a good starter on this great artist. Many well-educated scholars contribute their take on the various subject matter that can be associated with O'Keeffe.

This is the catalog for an international exhibition that was shown in England, Mexico, and Japan. Eldredge offers an interesting, readable, brief biography of the artist and a thoughtful, coherent discussion of the paintings in the exhibit, most of which are reproduced as full-page color plates. Arguably the most important among American artists, there can never be too many books of Georgia O'Keeffe's paintings.

This is a most interesting treatment of O'Keefe, Modernism, gender, and place. I began the book with misgivings -- I don't always like Dijkstra -- but this is useful, interesting, and a pleasure to read. One caveat -- like many books written about art by non-art historians, the reproductions are scandalously bad. I had to check out two (2) books from the library to make sense of the paintings. This is undoubtedly not Dijkstra's fault, but the fault of the Press. The only decent reproduction (the only one in color) is on the DUSTJACKET! Oh, well, what can we say.

What can I say. As a fan of Georgia O'keeffe's artwork, I must say that Ms. Udall's way of writing is quite concise. She does a wonderful job of breaking down her book into sections: Solids and voids, Light, and Line as a formal element. I thought Ms. Udall's book does a great job deatailing the finer points of O'keeffe's Texas years (1912-1918).

If you love New Mexico, O'Keeffe or just fine photography this is a book for you. This intimate look at O'Keeffe through text and photos gives us a better look at this complicated artist. The photos by M. Wood are outstanding, as he takes you through how he contacted Ms. O'Keeffe, through the subtle games she and her gardener played. It was easy to see the love of the land that not only Ms. O'Keeffe had, but the same feeling seems to to just pop out of each photogrpah that Mr. Woods shows us.

I'm a realist when it comes to human beings, holding no illusions about how cruel we can be. But after reading this book I wish I had not read it. Either I buy into Eisler's portrait of O'Keefe and Stieglitz -- which consistently paints them as self-centered persons who nearly qualify as anti-social personalities -- or I assume that Eisler's presentation borders on slander. Most of the content of the book appears to be there to justify the author's "psychological" conclusions about their personalities. This leads me to question what is actually driving the presentation -- the sources or Eisler's harsh theory about their personalities. There were so few instances where you would find an instance where they were presented in a favorable light that it leaves me wondering, "Were they this unredeemable, or is this a simplistic reduction that has not sufficiently presented the complex nature of their personalities?" Since this is the only book I've read about them, I have nothing to compare it to. Eisler could be dead on and fair. Frankly, I hope not.

An amazing insight into the lives of two of America's great artists of this century. Thanks to the fine research of the author and the fact that so many important people in the lives of O'Keeffe and Stieglitz corresponded by letter and, more importantly, saved the letters, we are able to share many moments in their personal and professional lives in NYC, at Lake George and in New Mexico. Their psychological development over time and the effect of that on their work and their relationship is fairly mind boggling. One problem, the author never really explains what it is about Stieglitz that makes O'Keeffe love him and keeps her tied to him.

I got this book as a gift. It is a little intimidating in size but is a fascinating look at the extraordinary flawed lives of these two individuals. It sounds cliche but it is very hard to put down. In part I think it has such an "inside" nature to it due to the prolific letter writers involved. Everyone wrote, and luckily seemed to save all their correspondence. The look at the New York Art world in the 1920's is such a bonus.

A great book!

If you've been an O'keeffe fan for a long time this book will lack of new and interesting facts about her life and art. It is a "good" book, but it works only for people that have just discovered O'keeffe's greatness.

Having always been familiar with her work, this book provided me with a good synopsis of her life and her art. The book has a good layout, and a "tasty" palette of her art and color to feed on.

I picked up this book after seeing the Hesse retrospective in San Francisco. Although it provides a lot of useful background, the reading the art are somehow too pat. I guess it is a problem to always refer to the artist's life, however fascinating, to explain their work? And the 'feminist' framework did seem forced -- the photos were very suggestive but the author seemed afraid to really go for it. Why is so much academic writing afraid to make a strong argument or provocative, unexpected analysis?

Everyone who reviewed it seemed to love this overview of the careers of 3 artists: Krasner, Hesse. It's a fun read, with great photos, but I wish art historians would start to see there's more to the sixties than Hesse: what about Agnes Martin, Lee Bontecou, Yoko Ono, Alison Knowles, and all the rest??

Wagner wants to be a good feminist, but ultimately, her approach is surprisingly traditional: canonical figures, marriage plot, sticks to the US, the known and alrady successful. Wants to avoid being "radical" or disturbing at all costs.

One is reluctant to criticize the reviews of other customers, yet the two reviews prior to mine attempt to force upon Wagner's book both an historical framework and a point of view that are outside of her intended goal. If one reads the book for what it is, one finds a work of analytical insight, scholarship, humanity, and understanding of historical context. Enjoy it, savor it, reflect upon it!

This is a good book, but the author does not seem to like either O-Keeffe or her husband Stieglitz. He covers their art a bit but without enthusiasm and instead seems to target their personal foibles and sexual peccadillos, which were many and indeed strange. This is valid reporting and ceratinly covers a necessary part of the story, but after a while it gets boring. However, in many sections the author speculates in strange ways on details of their intimate life that cannot be known, such as positiing that the origin of O'Keeffe's "discreet lesbianism" came from cryptically documented (hence essentially unprovable) sexual molestation as a child. If you want to look at the art, you have to go elsewhere. I enjoyed this as a vacation book but did not learn much from it beyond gossip.