Georgia O'Keeffe, Music, Pink and Blue No. 2

For many vanguard artists in the early twentieth century, music offered a model for expressing nonverbal emotional states and sensations. Georgia O'Keeffe was fascinated with what she called "the idea that music could be translated into something for the eye," but her references to music in the titles of her paintings derived equally from her belief that visual art, like music, could convey powerful emotions independent of representational subject matter. In Music—Pink and Blue II, the swelling, undulating forms imply a connection between the visual and the aural, while also suggesting the rhythms and harmonies that O’Keeffe perceived in nature.
For many vanguard artists in the early twentieth century, music offered a model for expressing nonverbal emotional states and sensations. Georgia O'Keeffe was fascinated with what she called "the idea that music could be translated into something for the eye," but her references to music in the titles of her paintings derived equally from her belief that visual art, like music, could convey powerful emotions independent of representational subject matter. In Music—Pink and Blue II, the swelling, undulating forms imply a connection between the visual and the aural, while also suggesting the rhythms and harmonies that O’Keeffe perceived in nature.

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Georgia O'Keeffe, Music, Pink and Blue No. 2 (1918)

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