Inspired by O’Keeffe’s frequent visits to the family home of Alfred Stieglitz, this work continues in the tradition of earlier Hudson River School painters inspired by the sublime topography of the region, but interpreted in O’Keeffe’s avant-garde style of abstraction. The painting can be viewed either vertically or horizontally and this ambiguity of orientation creates a work that is at once highly representational and wholly abstract. First exhibited in 1923 by the artist at the Anderson Galleries, the work was hung vertically, encouraging anthropomorphic comparisons most closely relating to her magnified flower imagery, which she was simultaneously exploring. [http://arthistorynewsreport.blogspot.nl/2016/05/christies-american-art-sale-may-19.html] O’Keeffe herself hung it vertically when it was first exhibited in a New York gallery in 1923. (https://www.liveauctioneers.com/news/top-news/art-design/georgia-okeeffe-double-view-painting-fetches-12-9m-auction/)