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"'Hardness' has not been in our century a quality much admired in women, nor in the past twenty years has it even been in official favor for men."

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"'Hardness' has not been in our century a quality much admired in women, nor in the past twenty years has it even been in official favor for men." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "'Hardness' has not been in our century a quality much admired in women, nor in the past twenty years has it even been in official favor for men.", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "'Hardness' has not been in our century a quality much admired in women, nor in the past twenty years has it even been in official favor for men."
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"'Hardness' has not been in our century a quality much admired in women, nor in the past twenty years has it even been in official favor for men."

"When hardness surfaces in the very old we tend to transform it into 'crustiness”' or eccentricity, some tonic pepperiness to be indulged at a distance. On the evidence of her work and what she has said about it, Georgia O’Keeffe is neither 'crusty' nor eccentric. She is simply hard, a straight shooter, a woman clean of received wisdom and open to what she sees. This is a woman who could early on dismiss most of her contemporaries as 'dreamy,' and would later single out one she liked as 'a very poor painter.' (And then add, apparently by way of softening the judgment: 'I guess he wasn’t a painter at all. He had no courage and I believe that to create one’s own world in any of the arts takes courage.')... The men talked about Cezanne, 'long involved remarks about the "plastic quality" of his form and color,' and took one another’s long involved remarks, in the view of this angelic rattlesnake in their midst, altogether too seriously. 'I can paint—one of those dismal-colored paintings like the men,' the woman who regarded herself always as an outsider remembers thinking one day in 1922, and she did: a painting of a shed 'all low-toned and dreary with the tree beside the door.' She called this act of rancor 'The Shanty' and hung it in her next show. 'The men seemed to approve of it,' she reported fifty-four years later, her contempt undimmed. 'They seemed to think that maybe I was beginning to paint. That was my only low-toned dismal-colored painting.'"

From the essay "Georgia O'Keeffe" in Joan Didion's "White Album" (1979).

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"When hardness surfaces in the very old we tend to transform it into 'crustiness”' or eccentricity, some tonic pepperiness to be indulged at a distance. On the evidence of her work and what she has said about it, Georgia O’Keeffe is neither 'crusty' nor eccentric. She is simply hard, a straight shooter, a woman clean of received wisdom and open to what she sees. This is a woman who could early on dismiss most of her contemporaries as 'dreamy,' and would later single out one she liked as 'a very poor painter.' (And then add, apparently by way of softening the judgment: 'I guess he wasn’t a painter at all. He had no courage and I believe that to create one’s own world in any of the arts takes courage.')... The men talked about Cezanne, 'long involved remarks about the "plastic quality" of his form and color,' and took one another’s long involved remarks, in the view of this angelic rattlesnake in their midst, altogether too seriously. 'I can paint—one of those dismal-colored paintings like the men,' the woman who regarded herself always as an outsider remembers thinking one day in 1922, and she did: a painting of a shed 'all low-toned and dreary with the tree beside the door.' She called this act of rancor 'The Shanty' and hung it in her next show. 'The men seemed to approve of it,' she reported fifty-four years later, her contempt undimmed. 'They seemed to think that maybe I was beginning to paint. That was my only low-toned dismal-colored painting.'"

From the essay "Georgia O'Keeffe" in Joan Didion's "White Album" (1979).



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