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Ilocana Poet. Dubbed Mother of Philippine Women's Literature. Mother of Isabelo de los Reyes (Father of Philippine Socialism).

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Leona Florentino died in Vigan, Ilocos Sur October 4, 1884

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On October 4, 1884, Leona Florentino, the first Filipina poet in Spanish and Ilocano languages, died at the age of 35 in Vigan, Ilocos Sur.

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Statue of Leona Florentino (Calle Crisologo, Vigan, Ilocos Sur)

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Statue of Leona Florentino (Calle Crisologo, Vigan, Ilocos Sur)

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https://en.wikipedia.org/wiki/Leona_Florentino

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Link to some of Florentino's poems (Filipino and original, Ilocano, versions): https://www.hawaii.edu/filipino/Lessons/Si%20Leona/Leona.html

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1887-1986

The art of Georgia O'Keefe is among the most well-known in America, as is the artist herself. She is one of America's best-loved and most celebrated artists and icons. Her abstract imagery of the early 1920s is among the most innovative work produced in this period by any American artist. She revolutionized the tradition of flower painting by picturing them in close-up, cropped images. Finally she laid claim to the American Southwest when she painted the unique landscape configurations and desert objects (animal skulls, bones, and rocks) of New Mexico. O'Keefe carved out a significant place for women painters in the American art community, that had been dominated by men.

Born in rural Wisconsin, O'Keefe studied at the Art Institute of Chicago and the Art Students League in New York in the early 1900s where she mastered imitative realism. In 1915, she began a series of abstract charcoal drawings that are now recognized as the most innovative American art of this period. These drawings began her career. Ten of these abstractions were exhibited in 1915 by art impresario and photographer Alfred Stieglitz at his famous Gallery 291. From 1923 until his death in 1946 Stieglitz, who was her mentor, dealer, and husband, exhibited her art annually and promoted her constantly.

During the 1920s, O'Keefe increasingly turned to representational imagery with abstract underpinnings, and by mid-decade she had repositioned herself as a painter of representational forms. Whether working abstractly, representationally, or synthesizing these opposite styles, she created a distinctive body of work. By 1929, O'Keefe had exhausted the East Coast as a source of inspiration for her work and traveled to Northern New Mexico and rediscovered her love for this area, first seen in 1917 during a brief visit to Santa Fe.

Three years after Stieglitz's death, O'Keefe moved from New York to her beloved New Mexico, whose stunning vistas and stark landscapes inspired her work. O'Keefe would paint bleached bones or animals' skulls in close-up views which recalled her early close-up views of flowers in the 1920s. Her landscape paintings showed the expanse of earth and sky and the red hills, that surrounded her New Mexico home. She continued to work in oil until the mid-1970s when failing eyesight forced her to abandon painting. Although she continued to work in pencil and watercolor until 1982, she also produced objects in clay until her health failed in 1984. She died two years later at the age of 98.

Her art work resides in major museums in the United States. In 1997, the Georgia O'Keefe Museum opened in Santa Fe, and it contains a large body of her work, photographs, library, and archival materials. The Georgia O'Keefe Home and Studio in Abiquiu was designated a National Historic Landmark in 1998 and is now owned by the Georgia O'Keefe Museum.

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1887-1986 The art of Georgia O'Keefe is among the most well-known in America, as is the artist herself. She is one of America's best-loved and most celebrated artists and icons. Her abstract imagery of the early 1920s is among the most innovative work produced in this period by any American artist.

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Florentino employed floral symbolisms in her poetry dedicated to women.

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Georgia O'Keeffe (1887-1986) was an American artist from the state of Wisconsin who specialised in depictions of enlarged flowers, skyscrapers and landscapes. She has been recognised at the "Mother of American modernism".

O'Keeffe studied art in both New York and Chicago before taking on commercial work and teaching positions in order to sustain herself. Her work took her across the United States and she lived in several different cities, taking art classes during the summer months and seeking to find her own personal style. Around 1912, whilst at the University of Virginia, she was introduced to the work of Arthur Wesley Dow, who focused on capturing the essence and feeling of an object, rather than the exact image of the item or scene. This had a huge influence on O'Keeffe's work and she began to experiment with abstraction, attempting to capture the world of her sensations and feelings in visual images.

In 1916, one of O'Keeffe's teachers showed her work to the New York art dealer Alfred Stieglitz who was immediately impressed. He stated that he found them to be the "purest, finest, sincerest things that had entered [his gallery] in a long while."

In 1917 Stieglitz held an exhibition of O'Keeffe's work at his gallery, 291. In 1918 she moved to New York and began to work full time as an artist. Whilst in New York, O'Keeffe was introduced to a number of leading modernists from the era. She began to focus on creating simplified images of the natural world. Her images spoke as much about what was absent and what was missing as they did about what was captured and depicted. O'Keeffe's work shows the influence of the photographic image, with close ups and the ability to crop an image to focus on what is important to the painting.

She married Stieglitz in 1924, the same year he divorced his previous wife. Their relationship was not always a happy one. Stieglitz had an affair with Dorothy Norman in 1928 and O'Keefe was hospitalised and treated for depression at around the same time. The following year she began to spend her summers in New Mexico, where she found great inspiration from the natural landscapes. In 1933 she was hospitalised following a nervous breakdown. When released, she began to spend increasing amounts of time in New Mexico, living in a house on a property called Ghost Ranch and inviting her friends to come and visit. In 1945 she bought and renovated a hacienda in the area.

Stieglitz died of a cerebral thrombosis in 1946 and O'Keeffe returned to New York to settle his estate, before returning permanently to her properties in New Mexico.

Her work attracted considerable commercial success during her lifetime and posthumously. In 2014 her painting Jimsyn Weed sold for $44,405,000 at auction, breaking all previous records for work by female artists. The Georgia O'Keeffe Museum was established in Santa Fe in 1997, 11 years after the artist's death.

Many of O'Keeffe's works featured images of flowers. Over the course of her career she created somewhere around 200 images of flowers. In O'Keeffe's Red Canna painting series, she focuses on close up images of the interior view of flowers. Many speculated that these images referenced female genitals and sexuality, an idea that seemed to be fuelled by controversial images that O'Keeffe's husband had taken of her and displayed publicly. This seemed to give fuel to the idea that O'Keeffe was an artist with a tendency towards overt sexuality, although this was an idea that she herself denied, claiming that her works were not intended to reference female sexual identity. Notably, it was largely male critics who expounded the view that her work contained sexual references.

However, in many of her works, O'Keeffe did focus specifically on the internal view of the plants and flowers she depicted, including the stamens and reproductive areas. This has led some modern day critics to contest that despite the artists protestations, there does seem to be a reference to reproduction and sexuality within the work.

O'Keeffe herself often commented that the colour and form of the flowers was more important than the subject matter, suggesting that she was interested in the natural form and capturing its beauty.

Several feminist critics have praised O'Keeffe's work as capturing feminist themes far ahead of their time. Certainly, in the era in which she was working, O'Keeffe was in a male-dominated world and was repeatedly reminded of her gender and otherness as she moved through the art world.

Flowers are often symbolically associated with femininity and softness, love and sexuality. Many of O'Keeffe's images contain several flowers on one large canvas. In this way she seems to capture something of the beauty and vastness of nature.

It is hard to say exactly what O'Keeffe intended to symbolise with her flower paintings. They are the most iconic image within her works and the subject matter she will be most remembered for, but whether she intended to evoke symbolic images of sexuality or not is hard to say.

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ArtDependence | The Symbolism of Flowers in the Art of Georgia O'Keeffe

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O'Keeffe herself often commented that the colour and form of the flowers was more important than the subject matter, suggesting that she was interested in the natural form and capturing its beauty. Several feminist critics have praised O'Keeffe's work as capturing feminist themes far ahead of their time.