colors and lines are controlled yet fluid. As the title tells, an inner and outer harmony is reached.Georgia O'Keeffe's Black Iris is noted for its sensual suggestiveness, but she insisted that she was representing the flower itself. She even flatly denied that the flower was a metaphor for female genitalia.O'Keeffe's flowers were painted frontally and revealingly had the effect of making the human beings who stood in front of them become smaller. "The observer feels like Alice after she had imbibed the 'Drink Me' phial" wrote a reviewer in amusement. The size of the bloom relative to a human really reflected the relative importance of nature and mankind in the artist's eyes. Georgia O'Keeffe painted everything from lilies, jonquils, daisies, irises, sweet peas, morning glories, poppies, forget-me-nots, marigolds, poinsettias, orchids, sunflowers, petunias, marigolds, and many more were reborn in her paintings. O'Keeffe wasn't happy because people looked at her paintings and tried to see them in the way of a female. She said, "Well--I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower--and I don't." She did not like the idea that people thought she painted the way she did because she was a female. She painted that way because that was how she saw things. The flowers that she created epitomize her growth, success, magnetism, and energy at that certain stage in her career. Her choice to paint these flowers was influenced by her early training, natural attraction to flowers, and the idea of something fresh and fragile. Close observations of O'Keeffe's flowers show that she never really pursued the realistic approach. She didn't paint every petal and detail. Instead she gave her flowers a life of their own, and expression that changed signi...
