It was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
GEORGIA O'KEEFFEIt was in the 1920s, when nobody had time to reflect, that I saw a still-life painting with a flower that was perfectly exquisite, but so small you really could not appreciate it.
GEORGIA O'KEEFFEI often lay on that bench looking up into the tree, past the trunk and up into the branches. It was particularly fine at night with the stars above the tree.
GEORGIA O'KEEFFEAnyone who doesn’t feel the crosses simply doesn’t get that country.
GEORGIA O'KEEFFEI found I could say things with color and shapes that I couldn’t say any other way – things I had no words for.
GEORGIA O'KEEFFEI don’t very much enjoy looking at paintings in general. I know too much about them. I take them apart.
GEORGIA O'KEEFFEIt was all so far away – there was quiet and an untouched feel to the country and I could work as I pleased.
GEORGIA O'KEEFFEI hate flowers – I paint them because they’re cheaper than models and they don’t move.
GEORGIA O'KEEFFEYou get whatever accomplishment you are willing to declare.
GEORGIA O'KEEFFEI feel there is something unexplored about woman that only a woman can explore.
GEORGIA O'KEEFFEI want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not.
GEORGIA O'KEEFFEThe days you work are the best days.
GEORGIA O'KEEFFEI decided that if I could paint that flower in a huge scale, you could not ignore its beauty.
GEORGIA O'KEEFFEMarks on paper are free – free speech – press – pictures all go together I suppose.
GEORGIA O'KEEFFEI had to create an equivalent for what I felt about what I was looking at – not copy it.
GEORGIA O'KEEFFEOne can’t paint New York as it is, but rather as it is felt.
GEORGIA O'KEEFFEI decided to start anew, to strip away what I had been taught.
GEORGIA O'KEEFFE