The very idea that an evocative portrait could be made of a person without showing their face was unheard of, at the time. &ldquo;In my excitement at such pictures of myself I took them to school and held them up for my class to see,&rdquo; she recollected. &ldquo;They were surprised and astonished too. Nothing like that had come into our world before.&rdquo; It was Stieglitz&rsquo;s belief that to grasp the essence of a person, within a frame, a photographer has to look beyond making portraits that draw attention solely to the face. According to him, it would take several images depicting one&rsquo;s movements and expressions to capture a grain of truth about them. &ldquo;To demand the portrait that will be a complete portrait of any person,&rdquo; he declared, &ldquo;is as futile as to demand that a motion picture be condensed into a single still.&rdquo;The two had first met in 1916, at Stieglitz&rsquo;s 291 galleries. Twenty-four years his junior, the renowned photographer was quite taken by O&rsquo;Keeffe who, at the time, was gaining recognition as a painter. Soon after, they began a regular correspondence, and he even included her drawings in a group show at his gallery.Up until then, Stieglitz&rsquo;s focus on the 291 Art Gallery and the journal, Camera Works, had left his photographic work a little neglected. In this regard, O&rsquo;Keeffe had quite an impact on him. In a letter to Sadakichi Hartmann, an art and photography critic, in 1919, he wrote, &ldquo;I am at last photographing again... It is straight. No tricks of any kind&mdash;No humbug&mdash; No sentimentalism&mdash;Not old nor new&mdash;It is so sharp that you can see the (pores) in a face&mdash; and yet it is abstract... It is a series of about 100 pictures of one person&mdash;heads and ears&mdash; toes&mdash;hands&mdash;torsos&mdash;It is the doing of something I had in mind for very many years.&rdquo;When he first made pictures of O&rsquo;Keeffe in 1917, she donned a &ldquo;crisp black dress with a sheer, voile shawl collar, reminiscent of the one she wore when they first met at his gallery.&rdquo; Early on, Stieglitz had observed her expressive manner of communication, and how she often used her hands while emphasizing. Hands of Georgia O&rsquo;Keeffe at 291 is an elegant tribute to a woman who captivated him. In a letter to a friend he said, &ldquo;She (Georgia O&rsquo;Keeffe) is much more extraordinary than even I had believed&mdash;In fact I don&rsquo;t believe there has ever been anything like her&mdash;Mind and feeling very clear&mdash;spontaneous&mdash;and uncannily beautiful&mdash;absolutely living every pulse beat.&rdquo;

The Story Behind The Picture- A Striking Portrait Of Intimacy

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