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Wagner’s Interpretation of O’Keeffe,
Hesse, and Krasner

by K. Bernardo, for The Paper Store, Inc. March 1999

   Toward the conclusion of her hefty, 346-page 

critical exploration Three Artists (Three 

Women): Modernism and the Art of Hesse, Krasner,

and O’Keeffe, Anne Middleton Wagner writes that 

her  goal in this book was "to instance the 

experience, as artists, of three women, 

and likewise to describe the experience,

as women, of three artists" (Wagner,
287). The 

three artists (women) she chose were Eva Hesse, 

Lee Krasner, and Georgia O’Keeffe. Wagner notes 

that these three artists had much in common -- 

they worked in the middle of the twentieth 

century, being "modernists by ambition and 

choice" (Wagner, 2); they contended with the 

sexism rampant in the art world; they expressed 

their sexuality and their personal sovereignty 

freely and without shame, both in their artwork 

and in their personal lives; and last but not 

least, they all married artists. Wagner 

presents some of these women’s’ central

concerns in a way that sheds considerable light 

on what it means to be a woman and an artist 

too.

     Eva Hesse was born in Hamburg,
Germany, and 

as a very small child fled the Nazis in 1939. 

She later became a United States citizen, and 

attended prominent American art schools such as 

the Pratt Institute, the Arts Student League, 

and the Cooper Union. Barely out of college, she 

made a name for herself as an 

abstract expressionist painter. The National 

Museum of Women in the Arts defines Abstract 

Expressionism  as an artistic movement 

characterized by the fusing of "two important 

strains of modern art: abstraction, which 

emphasized a non-representational approach to 

form and color, and expressionism, which 

emphasized emotional responses from both the 

artist and viewer ("National Museum," 

m1900s.htm).

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