Abstract

Georgia O’Keeffe’s reputation as exemplary American innocent was part of the persona that circulated along with her work and with her photographic portraits, throughout her career. This essay argues that O’Keeffe's stylisation of her life and work was a response to early twentieth-century structures of interpretation, and argues that, through reference to Far Eastern metaphysics as they appeared in America in the universalized design principles of Arthur Wesley Dow and Ernest Fenollosa’s work in particular, as well as to American traditions of ‘plain speech’, O’Keeffe used a formalist, aestheticist version of a Far Eastern-inspired aesthetic to pre-empt and parry contemporary psychoanalytic readings of her work and person.

摘要

佐治亚·奥基夫（Georgia O'Keeffe）被誉为美国无辜典范的声誉是她整个职业生涯中伴随着她的作品和摄影肖像流传的人物角色的一部分。本文认为，奥基夫（O'Keeffe）对她的生活和工作的风格化是对20世纪早期解释结构的回应，并指出，通过引用远东形而上学，就像美国在Arthur Wesley Dow和特别是欧内斯特·费诺洛萨（Ernest Fenollosa）的作品，以及美国的“朴素演说”传统，奥基夫（O'Keeffe）运用形式主义，唯美主义的远东风格美学，来抢先并招揽当代对其工作和个人进行的心理分析读物。