The Genesis of a Southwestern Dream

Georgia O’Keeffe’s “Light Coming on the Plains No. II,” painted in 1917, isn't merely a depiction of a sunrise; it’s an immersion into the heart of the Texas landscape and a profound exploration of light itself. Born amidst the dairy farms of Sun Prairie, Wisconsin, O’Keeffe’s artistic journey began with a deliberate rejection of academic realism, guided by the principles of Arthur Wesley Dow – prioritizing personal expression and the harmonious balance of color and line. This early influence is strikingly evident in this work, where the familiar subject matter of a sunrise is transformed into an abstract meditation on its essence.

The painting’s creation coincided with O'Keeffe’s teaching position at West Texas State Normal College in Canyon, a pivotal moment that brought her face-to-face with the vast, dramatic skies of the region. It was during a particularly memorable bus ride from Amarillo to Canyon—a journey punctuated by an extraordinary display of dawn—that she felt compelled to capture this fleeting spectacle on canvas. This experience became the catalyst for what would become a series of watercolors dedicated to the beauty and intensity of Texas sunrises, each one a testament to her evolving artistic vision.

A Symphony of Color and Form

Executed in watercolor on newsprint—a choice that speaks volumes about O’Keeffe's deliberate simplicity and her desire to capture the ephemeral nature of light—“Light Coming on the Plains No. II” is a masterclass in tonal abstraction. The composition centers around a luminous, circular form, rendered in washes of deep indigo blue, suggesting the deepening twilight as the sun ascends. This central orb isn’t a literal representation but rather an embodiment of the feeling – the sense of anticipation and quietude—that accompanies the first hints of dawn. Subtle shifts in color and texture create a dynamic interplay of light and shadow, evoking the subtle gradations of luminosity that define a sunrise.

Notice how O’Keeffe eschews sharp outlines or detailed rendering. Instead, she employs loose brushstrokes and layered washes to build atmosphere and suggest form. The painting's intimacy—measuring just 24 x 18 7/8 inches—draws the viewer in, inviting a close examination of its delicate nuances.

Symbolism and the Essence of Place

Beyond its purely aesthetic qualities, “Light Coming on the Plains No. II” is deeply rooted in the landscape and culture of West Texas. The vastness of the plains, the dramatic interplay of light and shadow, and the subtle hints of vegetation all contribute to a sense of place—a feeling of being utterly immersed in the natural world. O’Keeffe's work often explored themes of isolation and connection with nature, and this painting is no exception.

Furthermore, some art historians have interpreted the circular form as representing the sun itself, while others suggest a more personal symbolism—a visual metaphor for O’Keeffe’s own inner world. The deliberate abstraction allows for multiple interpretations, inviting viewers to project their own emotions and experiences onto the canvas.

A Legacy of Modernism

“Light Coming on the Plains No. II” stands as a crucial work in Georgia O'Keeffe’s artistic development—a bridge between her early explorations of abstraction and her later, more iconic paintings of flowers and desert landscapes. It exemplifies her pioneering approach to landscape painting, prioritizing emotional resonance over literal representation. The painting’s influence can be seen in the works of subsequent generations of American artists who sought to capture the essence of nature through innovative techniques and a deeply personal vision.

Today, “Light Coming on the Plains No. II” resides within the Amon Carter Museum of American Art in Fort Worth, Texas, where it continues to captivate viewers with its ethereal beauty and profound sense of place. Reproductions offer an accessible way to experience this remarkable work of art, bringing a touch of Southwestern serenity into any space.