Since 1935, O'Keeffe had been experimenting with compositions that combined skeletons and landscape images, without considering their relative size, scale, or perspective. Rendering each element in equally sharp focus, she blurred the spatial distinctions between what is perceived of as being near and what is far. Here, an enormous animal skull rests tentatively on the narrow strip of land at the bottom, emphasizing the strong similarities between the color and shape of the enormous antlers and the hilltop peaks. Even though the painting seems real, it does not follow logic, since the skeleton and antlers of the animal are bigger than the mountains shown in the bottom of the painting. Even the animal skull with its extravagant number of antlers is an imaginative invention. Merging these images into a single composition, however, may have been O'Keeffe's way of summarizing her feelings about the Southwest. Originally titled Deer's Horns, Near Cameron, after her 1937 camping trip to Arizona with photographer Ansel Adams.
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