Georgia O’Keeffe and Henry Moore at the MFA Boston offers a sanctuary of minimalist beauty and harmony.
Photo by Natalya Terk.
The curators inspire a dialogue between two remarkable artists who shared much in common yet never had the chance to meet in person. The exhibition celebrates the profound inspiration both artists draw from the beauty of the natural world.
Organized by the San Diego Museum of Art, in collaboration with the Georgia O’Keeffe Museum and the Henry Moore Foundation, the show brings together a diverse selection of over 150 works, including paintings, sculptures, works on paper, and photography.
The concept was initiated by Anita Feldman, the Deputy Director for Curatorial Affairs at the San Diego Museum of Art. As a devoted Henry Moore scholar, author, and member of the Henry Moore Authentication Committee at the Moore Foundation for 18 years, she came up with the idea in 2015 after visiting Georgia O’Keeffe's studios in Abiquiú and Ghost Ranch for the first time. She remembers thinking - “Henry Moore would have loved this, especially that skull.”
In addition to artworks by Georgia O’Keeffe and Henry Moore, there are pieces by other artists, including Edward Weston, Barbara Hepworth, Arthur Dove, and Jean Arp. These artists were contemporaries, friends, and collaborators who shared ideas and inspired one another. Like O’Keeffe and Moore, they focused on creating modern art influenced by natural forms.
Upon entering the first gallery, you are struck by the remarkable similarities between the two artists. The introduction begins with an exploration of bones, a subject that fascinated both of them and offered rich artistic possibilities. In his "Working Model for Standing Figure: Knife Edge" from 1961, Henry Moore manipulates the breastbone of a bird using a small ball of plasticine. This figurative sculpture twists in space, inviting viewers to walk around it and engage from multiple angles. Similarly, Georgia O’Keeffe, in her "Red Hills and Bones" from 1941, finds inspiration in the landscapes of New Mexico and the animal bones she collected. The abundance of bones during the 1930s was a result of several factors, including unusual weather patterns, Forestry Service projects that restricted access to water sources, and government-sanctioned culling of wild horses. But for O’Keeffe, bones did not symbolize death; rather, she viewed them as vital elements. She remarked, “The bones seem to cut sharply to the center of something that is keenly alive.”
Another interest they shared was natural forms. Both artists explored their environments, collecting items to bring back to their studios. They each worked with shells but in different ways. O’Keeffe focused on the interior of a shell, highlighting its curves in shades of white and gray, set against the smooth textures of seaweed and seagrass. A great example is her "Shell #2," created in 1928 that is on display at the MFA. In contrast, Moore discovered a shell and added to it, crafting a new form. His stalactite sculpture "Mother and Child," completed in 1978, is modeled after a shell.
A separate section of the show is dedicated to artists active in the United States and Europe during the mid-20th century who just like O'Keeffe and Moore, were exploring nature in their work. These artists transformed bones, stones, trees, and flowers into modern compositions. For example, Edward Weston created photographs that captured natural forms. Similar to O'Keeffe, he placed a cow's skull in a hollow of the eroded rocks along the shore at Point Lobos, California, and produced close-up photographs of an orchid blossom. Barbara Hepworth, a close friend of Henry Moore, also sought inspiration from nature. In her sculpture "Rock Form (Porthcurno)" from 1964, she, like Moore, transformed the shapes of the rocks and sea caves near the village into a pierced, balanced, abstract form.
One of the most fascinating aspects of the exhibition is the carefully recreated artists' studios. Georgia O'Keeffe's minimalistic studio at Ghost Ranch reflects the meticulous way she created her paintings. This recreation is based on site visits, archival photographs, and films of the artist working in her studio. O'Keeffe's belongings—such as furnishings, an apron, tools, bones, stones, and shells—are on loan from the Georgia O'Keeffe Museum. Henry Moore's studio showcases his original tools, found objects, sculptures in various stages of completion, and includes his apron, chair and table, all of which were brought from his Perry Green property, where the Henry Moore Foundation is now located.
Several galleries are exploring artists' efforts to achieve a fine balance by examining both the external and internal qualities of objects. The artists have created works that beautifully visualize balance, either through compositions divided into two halves or by combining two distinct visual elements. Their pieces evoke a powerful tension between the individual components, showcasing the unique harmony that can emerge from inequality. Negative space plays a crucial role in both artists' works, acting as a positive force that enhances the overall expression.
In front of these objects, time seems to slow down, prompting visitors to reflect on life and death, as well as the nature of time and its passage. Everything is both temporary and simultaneously eternal. This inspiration from the natural world can be traced back to the beginning of humanity. One might wonder why people have always been so fascinated by nature. My guess is that they were searching for harmony. Nature is inherently harmonious, with everything having its place, meaning, and purpose. In contrast, human life often feels disjointed and chaotic. Many individuals spend their entire lives seeking these elements of harmony. Artists like Georgia O’Keeffe and Henry Moore may have found it, or at least came close to discovering it.