A Quote by Liza Campbell

I read letters and journal entries by [Georgia] O'Keeffe (which were infinitely more useful than any critical analysis of her work). — © Liza Campbell
I read letters and journal entries by [Georgia] O'Keeffe (which were infinitely more useful than any critical analysis of her work).
I was only loosely aware of [Georgia] O'Keeffe's work. Primarily, I had seen her famous paintings of skulls with flowers, which are not my favorite. I didn't really become familiar with her work until after I started writing the book, but the more I learned about her the more I admired her.
[Mary Wortley Montagu] wrote more letters, with fewer punctuation marks, than any Englishwoman of her day; and her nephew, the fourth Baron Rokeby, nearly blinded himself in deciphering the two volumes of undated correspondence which were printed in 1810. Two more followed in 1813, after which the gallant Baron either died at his post or was smitten with despair; for sixty-eight cases of letters lay undisturbed ... 'Les morts n'écrivent point,' said Madame de Maintenon hopefully; but of what benefit is this inactivity, when we still continue to receive their letters?
Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.
[Ivy Wilkes] loves [Georgia] O'Keeffe's work, but is not satisfied by just looking at the paintings; she wants the painting to be her own. The plot grew naturally out of Ivy's personality (and flaws).
Yet [Georgia O'Keeffe ] always stayed true to her vision, and was at times uncompromising in following the path she saw for herself.
I recall an August afternoon in Chicago in 1973 when I took my daughter, then seven, to see what Georgia O’Keeffe had done with where she had been. One of the vast O’Keeffe ‘Sky Above Clouds’ canvases floated over the back stairs in the Chicago Art Institute that day, dominating what seemed to be several stories of empty light, and my daughter looked at it once, ran to the landing, and kept on looking. "Who drew it," she whispered after a while. I told her. "I need to talk to her," she said finally.
I would be far more critical than any reviewer could be of my own work. So I simply don't read them.
Georgia O'Keeffe proposed that I live with her. She was in New Mexico then, and I wanted to be in New York.
She needs a new journal. The one she has is problematic. To get to the present, she needs to page through the past, and when she does, she remembers things, and her new journal entries become, for the most part, reactions to the days she regrets, wants to correct, rewrite.
Women who stay true to themselves are always more interesting and beautiful to me: women like Frida Kahlo, Georgia O'Keeffe and Anna Magnani - women who have style, chic, allure and elegance. They didn't submit to any standard of beauty - they defined it.
I have more information than anybody's ever had about this case. I have 7,000 letters from Aileen Wuornos and all the letters between her and her girlfriend.
I hope to work through disappointment and frustration with as much grace as [Georgia] O'Keeffe did, and I hope to have the same confidence in my own vision.
I keep thinking: 'Georgia O'Keeffe wouldn't have had Botox.'
One thing that was inspiring to me in my research about [Georgia] O'Keeffe was to learn that in addition to her success she had very hard times, and times when she was frustrated and uninspired.
I've always loved those portraits that Alfred Stieglitz did of Georgia O'Keeffe over several years, which really convey the idea that there's not one image that can capture a woman, because we're changing all the time.
To have some account of my thoughts, manners, acquaintance and actions, when the hour arrives in which time is more nimble than memory, is the reason which induces me to keep a journal: a journal in which I must confess my every thought, must open my whole heart!
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