...It is a strange painting, and a painting of strangeness. Bones and blossoms float above rolling arid red hills. These forms are all painted with the same pitch and intensity. The painted space is constructed in layers forming a schism between the real and the imagined. This space is illuminated through colour and light – through a ‘touch’ that creates a haptic sense. We see a prelude for this in Alfred Stieglitz’s photograph Georgia O’Keeffe – Hands and Horse Skull 1931, which evidences that images can be a mode of seeing – groped, probed and caressed into becoming – seizing hold of life. O’Keeffe’s Summer Days in its vividness attests to this haptic sense of the eye, a sense that grips the action of the hand, a sense that simultaneously grasps creation and destruction, between flesh and sense. Summer Days reminds us that painting is an ethereal stage on which images have the potential to appear and... [http://www.tate.org.uk/context-comment/articles/georgia-okeeffe-artists-views]