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Georgia O’Keeffe Museum, VEGAP, Madrid
Georgia O'Keeffe

From the Plains II

1954
Oil on canvas.
122 x 183 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
696
(
1977.36
)
Room 46
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 19th Century. The Impressionist Period 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms • Exhibition room
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Discover some of the secrets and details invaluable to the human eye in this work.

From the Plains II, dated 1954, is the second version of a painting executed in 1919, thirty-five years earlier, in Amarillo, Texas. In the early painting, which is vertical in format, O’Keeffe had wished to represent, according to her own testimony, the fascination she had felt on witnessing cattle being herded across the vast plains of this arid part of the country, kicking up dust and causing a deafening din. In this second rendering, the vastness of the plains of Texas is even more imposing, heightened by the horizontal format of the canvas and by the flaming colours of sunset. O’Keeffe commented on this painting in a letter to the gallery owner Edith Halpert that “the color is just plain color out of the tube — red and orange to lemon — It shocks me so that I’m rather struck with it — I don’t know what it will get to.”

The painter has simplified and enhanced the abstraction of the image in order to provide a visual equivalent of her memories. “My first memory is of the brightness of light — light all around, ” she stated on one occasion. Her obsession with the light, which had moved her so greatly in Texas, led her to spend long periods away from New York from 1929 onwards in radiant New Mexico, and she settled permanently in the small village of Abiquiu in 1949. In these remote parts, the luminosity of her paintings became even more transparent and it is sometimes more nativistic or infused with a certain religious symbolism. At the same time, she used increasingly large formats to adapt to the imposing scale of the desert landscape.

Paloma Alarcó

20th Centurys. XX - Primeras vanguardias norteamericanasPaintingOilcanvas
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El sustrato de la naturaleza
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El sustrato de la naturaleza
En Estados Unidos la pintura de paisaje desempeñó un papel fundamental en la construcción de la identidad nacional. Además, las y los artistas comenzaron a manifestar una sensibilidad especial hacia la naturaleza, conectando con ella tanto a nivel espiritual como a través de un profundo interés por conocer sus ciclos y procesos. 
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Con esta propuesta de visita autónoma invitamos a explorar el museo y a conocer siete obras de la colección permanente poniendo el ojo en un elemento esencial del dibujo: la línea.
Nueva cultura de la Tierra
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Nueva cultura de la Tierra
Te invitamos a un recorrido para descubrir las 6+1 ideas de Nueva cultura de la Tierra, inspiradas en las emociones y en la admiración que nos despiertan siete obras de la colección permanente del Museo Nacional Thyssen-Bornemisza ¿te sumas al cambio cultural?
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From the Plains II

From the Plains II

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Masterpieces. Thyssen-Bornemisza National Museum

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Private and/or didactic use
From the Plains II. Desde las llanuras II, 1954
From the Plains II
Georgia O'Keeffe

©

Georgia O’Keeffe Museum, VEGAP, Madrid

Terms of Use

The exploitation rights of the images correspond to the Fundacion Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the images set out below by the Foundation, it will be necessary to obtain a license from VEGAP (www.vegap.es), or from the corresponding collective management organization in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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Any use other than those indicated above will require the prior written authorization of the Fundación.

Any request for educational and research use or for non-commercial use (including academic publications), should be directed by email to the Museum Photo Library through the email address archivo.fotografico@museothyssen.org. This department manages the worldwide distribution of the images of the works of the Museo Nacional Thyssen-Bornemisza and the management of their reproduction rights for those uses.

The user agrees to use the image of the website solely and exclusively for the purposes described above and in accordance with the following terms of use, which, however, do not apply to the reproduction of the works included in the photographs, as they are protected by Copyright.

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  • If the image is used for reproduction, the work must be reproduced in its entirety. The image may not be manipulated, deformed, modified or altered in any way. In particular, no superposition (of images or texts) on the reproduction is allowed.
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From the Plains II. Desde las llanuras II, 1954
From the Plains II
Georgia O'Keeffe

©

Georgia O’Keeffe Museum, VEGAP, Madrid

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Photo Library by email at the e-mail @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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