Artwork Images
Photo:
Controls
Light Coming on the Plains No. II
Object Details
-
Date
1917
-
Medium
Watercolor on newsprint paper
-
Dimensions
11 7/8 x 8 7/8 in.
Mount: 12 x 9 1/8 in. -
Inscriptions
[None]
-
Credit Line
Amon Carter Museum of American Art, Fort Worth, Texas
-
Accession Number
1966.32
-
Copyright
© Amon Carter Museum of American Art
Object Description
In 1916, O’Keeffe accepted a position teaching art at West Texas State Normal College in Canyon, Texas. Outspoken and eccentric, she struggled to make connections in the community, but she found inspiration and rejuvenation in the vastness of the Panhandle landscape. “The wonderful great big sky makes me want to breathe so deep that I’ll break,” she exclaimed in a letter to the dealer Alfred Stieglitz, one of many occasions in which she praised the natural beauty of West Texas.
In 1917, O’Keeffe produced a sequence of three small watercolors, including this one, chronicling sunrise. Working on sheets of newsprint, she layered fluid washes of ultramarine pigment, creating concentric bands of color that suggest the gradual diffusion of sunlight into the morning sky. Acquired directly from the artist following her 1966 retrospective at the Carter, these three watercolors offer a remarkable record of her early forays into abstraction.
—Text taken from the Carter Handbook (2023)
-
Revealed Treasures: Drawings from the Permanent CollectionOctober 21, 2001–February 10, 2002
This exhibition of drawings spanning the 19th and 20th centuries represents the evolution of the medium from preliminary outlines for other artistic media to a modern means of self-expression in its own right.
-
The Allure of Paper: Drawings and Watercolors from the CollectionJuly 9–October 9, 2011
This special exhibition showcases one-of-a-kind works on paper never before exhibited together, chronicling the sweeping changes that occurred in American art over the course of nearly 200 years from portraiture and history painting to modernism and abstraction.
Additional details
Location: Off view
See more by Georgia O'Keeffe
Tags
-
How do artists create light in their artworks?
Why might an artist return to the same subject multiple times or in multiple works of art?
Why might artists limit their color palettes?
How does an artist's choice of medium and materials impact an artwork?
How do artists determine which geographical features should be highlighted in portrayals of a nation?
Share Educator Resources
Amon Carter Disclaimer
This information is published from the Carter's collection database. Updates and additions based on research and imaging activities are ongoing. The images, titles, and inscriptions are products of their time and are presented here as documentation, not as a reflection of the Carter’s values. If you have corrections or additional information about this object please email us to help us improve our records.
Every effort has been made to accurately determine the rights status of works and their images. Please email us if you have further information on the rights status of a work contrary or in addition to the information in our records.
Related Works
-
Zerogram, 2017
Ellen Carey
Dye coupler print
P2018.40 -
Untitled, 1970
Luchita Hurtado
Lithograph
1970.86 -
Light Coming on the Plains No. I, 1917
Georgia O'Keeffe
Watercolor on newsprint paper
1966.30 -
Green Nude, ca. 1918-1924
Gaston Lachaise
Crayon on paper
2018.4 -
Weeping Beech, Brooklyn Botanic Garden, Brooklyn, 2011
Mitch Epstein
Gelatin silver print
P2012.13 -
Flammulated Owl, 1983
Scott Gentling, Stuart Gentling
Graphite, opaque and transparent watercolor on paper
2018.24 -
The Time Game, 2011
Jane Hammond
Gelatin silver print
P2011.29 -
Pink Cyclamen, ca. 1875
Fidelia Bridges
Transparent and opaque watercolor heightened with gum glaze and graphite on paper
1982.49 -
Light Coming on the Plains No. III, 1917
Georgia O'Keeffe
Watercolor on newsprint paper
1966.31