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{{Infobox artist |
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| name = Georgia O'Keeffe |
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| image = O'Keeffe-(hands).jpg |
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| imagesize = |
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| caption = ''Georgia O'Keeffe, hands'' 1918, photo by [[Alfred Stieglitz]] |
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| birth_name = Georgia Totto O'Keeffe |
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| birth_date = {{birth date|1887|11|15|mf=y}} |
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| birth_place = [[Sun Prairie, Wisconsin]],<br>[[United States]] |
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| death_date = {{death date and age|1986|3|6|1887|11|15|mf=y}}<ref name=twsJun13c>{{cite news |
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|first = Edith Evans |last = Asbury |
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|title = Obituary: Georgia O' Keeffe Dead at 98; Shaper of Modern Art in U.S. |
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|publisher = ''The New York Times'' |
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|date = March 7, 1986 |
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|url = http://www.nytimes.com/learning/general/onthisday/bday/1115.html |
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|accessdate= 2010-06-13 |
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}}</ref> |
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| death_place = [[Santa Fe, New Mexico]],<br>[[United States]]<ref name=twsJun13c/> |
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| nationality = [[United States|American]] |
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| field = [[Painting]] |
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| training = |
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| movement = [[American modernism]] |
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| works = |
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| patrons = |
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| influenced by = [[Arthur Wesley Dow]] |
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| influenced = [[Yayoi Kusama]] |
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| awards = |
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}} |
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'''Georgia Totto O'Keeffe''' (November 15, 1887 – March 6, 1986) was an [[United States|American]] [[art]]ist. |
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Born near [[Sun Prairie, Wisconsin]], O'Keeffe first came to the attention of the [[New York]] art community in 1916. |
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She made large-format paintings of enlarged blossoms, presenting them close up as if seen through a magnifying lens, and [[New York]] buildings, most of which date from the same decade. Beginning in 1929, when she began working part of the year in Northern [[New Mexico]]—which she made her permanent home in 1949—O’Keeffe depicted subjects specific to that area.<ref name="cspan"/> |
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==Early life== |
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[[File:Georgia O'Keefe UVa cropped.jpg|thumb|right|Georgia O'Keeffe as a teaching assistant to Alon Bement at the [[University of Virginia]] in 1915]] |
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Georgia O'Keeffe was born on November 15, 1887, in a farmhouse near [[Sun Prairie, Wisconsin]].<ref>{{cite web |url=http://www.visitsunprairie.com/whattodo.html#georgia |title=Birthplace of artist Georgia O’Keeffe}}</ref><ref>{{cite web|url=http://www.wisconsinhistory.org/vitalrecords/index.asp?id=2986934&record_type=b|title=Birth Record Details|publisher=Wisconsin Historical Society|accessdate=2009-07-23}}</ref> Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her father was of Irish descent. Ida Totto's father, George Victor Totto, for whom Georgia O'Keeffe was named, was a Hungarian count who came to America in 1848.<ref>{{citation |last=Robinson |first=Roxana |title=Georgia O'Keeffe: A Life |publisher=UPNE |year=1999 |page=6 |isbn=0-87451-906-3}}</ref> |
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Georgia was the second of seven O'Keeffe children, and the first daughter. O'Keeffe attended Town Hall School in Sun Prairie. By age ten she had decided to become an artist,<ref name="Columbus Museum of Art p. 76">{{citation |editor-last=Roberts |editor-first=Norma J. |title=The American Collections |publisher=[[Columbus Museum of Art]] |year=1988 |isbn=0-8109-1811-0 |page=76}}</ref> and she and her sister received art instruction from local watercolorist Sara Mann. O'Keeffe attended high school at Sacred Heart Academy in [[Madison, Wisconsin]], as a boarder between 1901 and 1902. In Fall 1902 the O'Keeffes moved from Wisconsin to the close-knit neighborhood of [[Peacock Hill]] in [[Williamsburg, Virginia|Williamsburg]], [[Virginia]]. Georgia stayed in Wisconsin with her aunt and attended Madison High School, then joined her family in Virginia in 1903. She completed high school as a boarder at Chatham [[Episcopal Church (United States)|Episcopal]] Institute in Virginia (now [[Chatham Hall]]), and graduated in 1905. She was a member of [[Kappa Delta]]. |
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O'Keeffe studied at the [[School of the Art Institute of Chicago]] from 1905 to 1906.<ref name="Columbus Museum of Art p. 76" /> In 1907, she attended the [[Art Students League of New York|Art Students League]] in New York City, where she studied under [[William Merritt Chase]]. In 1908, she won the League's William Merritt Chase still-life prize for her oil painting ''Dead Rabbit with Copper Pot''.<ref>{{cite web|url=http://www.museum-reproductions.com/cartdata/uploads/1036898528_large-image_gokdeadrab.jpg |title=Dead Rabbit with Copper Pot |date= |accessdate=2012-06-14}}</ref> Her prize was a scholarship to attend the League's outdoor summer school at [[Lake George (New York)|Lake George]], New York. While in the city in 1908, O'Keeffe attended an exhibition of [[Auguste Rodin|Rodin]]'s watercolors at the [[Little Galleries of the Photo-Secession|291]], owned by her future husband, photographer [[Alfred Stieglitz]]. |
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O'Keeffe abandoned the idea of pursuing a career as an artist in the fall of 1908, claiming that she could never distinguish herself as an artist within the mimetic tradition, which had formed the basis of her art training.<ref name="Columbus Museum of Art p. 76" /> She took a job in [[Chicago, Illinois|Chicago]] as a commercial artist. She did not paint for four years,<ref name="Columbus Museum of Art p. 76" /> and said that the smell of turpentine made her sick. She was inspired to paint again in 1912, when she attended a class at the [[University of Virginia]] Summer School, where she was introduced to the innovative ideas of [[Arthur Wesley Dow]] by Alon Bement.<ref name="Columbus Museum of Art p. 76" /> Dow encouraged artists to express themselves using line, color, and shading harmoniously. From 1912-14, she taught art in the public schools in [[Amarillo, Texas|Amarillo]] in the [[Texas Panhandle]].<ref name=amarillo>{{cite web |url=http://www.amarillo-tx.com/history.html |title=City of Amarillo,Texas}}</ref> She attended Teachers College of [[Columbia University]] from 1914–15, where she took classes from Dow, who greatly influenced O'Keeffe's thinking about the process of making art.<ref name="Columbus Museum of Art p. 76" /> She served as a teaching assistant to Bement during the summer from 1913–16 and taught at [[Columbia College (South Carolina)|Columbia College]], Columbia, South Carolina in the fall of 1915, where she completed a series of highly innovative charcoal abstractions. After further course work at Columbia in the spring of 1916 and summer teaching for Bement, she took a job as head of the art department at West Texas State Normal College from fall 1916 to February 1918, the fledgling [[West Texas A&M University]] in [[Canyon, Texas|Canyon]] just south of Amarillo. While there, she often visited the [[Palo Duro Canyon]], making its forms a subject in her work.<ref name=canyon>{{cite web |url=http://www.canyon-tx.com/history.html |title=City of Canyon, Texas}}</ref> |
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==New York== |
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[[File:Georgia O'Keeffe, 1915.jpg|left|upright|thumb|Georgia O'Keeffe, ''No. 13 Special,'' 1916/1917, Charcoal on paper]] |
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Early in 1916, [[Anita Pollitzer]] took some of the charcoal drawings O'Keeffe had made in the fall of 1915, which she had mailed to Pollitzer from South Carolina, to [[Alfred Stieglitz]] at his ''[[291 (art gallery)|291]]'' gallery. He told Pollitzer that the drawings were the "purest, finest, sincerest things that had entered ''291'' in a long while", and that he would like to show them. O'Keeffe had first visited ''291'' in 1908, but did not speak with Stieglitz then, although she came to have high regard for him and to know him in the spring of 1916, when she was in New York at [[Teachers College]]. In April 1916, he exhibited ten of her drawings at ''291''.<ref name="Columbus Museum of Art p. 76" /> Although O'Keeffe knew that Stieglitz was planning to exhibit her work, he had not told her when, and she was surprised to learn that her work was on view; she confronted Stieglitz over the drawings but agreed to let them remain on exhibit. Stieglitz organized O'Keeffe's first solo show at ''291'' in April 1917,<ref name="Columbus Museum of Art p. 76" /> which included oil paintings and watercolors completed in Texas. |
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Stieglitz and O'Keeffe corresponded frequently beginning in 1916, and in June 1918, she accepted Stieglitz's invitation to move to New York to devote all of her time to her work. The two were deeply in love, and shortly after her arrival, they began living together, even though the then-married Stieglitz was 23 years her senior. That year Stieglitz first took O'Keeffe to his family home at the [[Lake George (village), New York|village of Lake George]] in New York's [[Adirondack Mountains]], and they spent part of every year there until 1929, when O'Keeffe spent the first of many summers painting in New Mexico. In 1924 Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married. It was a small, private ceremony at John Marin's house, and afterward the couple went back home. There was no reception, festivities or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. The marriage did not seem to have any immediate effect on either Stieglitz or O'Keeffe; they both continued working on their individual projects as they had before. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, <blockquote> |
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"a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." |
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</blockquote> |
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[[File:Stieglitz, Georgia O'Keeffe, 1918.jpg|right|upright|thumb|[[Alfred Stieglitz]] photograph of O'Keeffe. New York City, 1918]] |
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[[File:Blue-green.jpg|right|upright|thumb|''Blue and Green Music'', Georgia O'Keeffe, 1921]] |
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Stieglitz started photographing O'Keeffe when she visited him in [[New York, New York|New York]] to see her 1917 exhibition. By 1937, when he retired from photography, he had made more than 350 portraits of her. Most of the more erotic photographs were made in the 1910s and early 1920s. In February 1921, forty-five of Stieglitz's photographs, including many of O'Keeffe, some of which depicted her in the nude, were exhibited in a retrospective exhibition at the Anderson Galleries that created a public sensation.{{Citation needed|date=September 2011}} A remark she once made to Pollitzer about the nude photographs may be the best indication of O'Keeffe's ultimate reaction to being their subject. She said,"I felt somehow that the photographs had nothing to do with me personally." In 1978, she wrote about how distant from them she had become:"When I look over the photographs Stieglitz took of me-some of them more than sixty years ago-I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person-but it doesn't matter-Stieglitz photographed her then."<ref>{{cite book|last=Lynes|first=Barbara|title=O'Keeffe, Stieglitz and the Critics, 1916-1929|year=1989|publisher=UMI Research Press|location=Ann Arbor, Michigan|isbn=0-8357-1930-8|pages=55–56}}</ref> |
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Beginning in 1918, O'Keeffe came to know the many early [[American modernism|American modernists]] who were part of Stieglitz's circle of artists, including [[Charles Demuth]], [[Arthur Dove]], [[Marsden Hartley]], [[John Marin]], [[Paul Strand]] and [[Edward Steichen]]. Strand's photography, as well as that of Stieglitz and his many photographer friends, inspired O'Keeffe's work. Also around this time, O'Keeffe, like so many others, became sick during the [[1918 flu pandemic]], but survived.<ref>Roxana Robinson, Georgia O'Keeffe: A Life. University Press of New England, 1989. p. 193. ISBN 0-87451-906-3</ref> Soon after 1918, O'Keeffe began working primarily in oil, a shift away from having worked primarily in watercolor in the earlier 1910s. By the mid-1920s, O'Keeffe began making large-scale paintings of natural forms at close range, as if seen through a magnifying lens. In 1924 she painted her first large-scale flower painting ''Petunia, No. 2'', which was first exhibited in 1925. She also completed a significant body of paintings of New York buildings, such as ''City Night'' and ''New York—Night'', 1926, and ''Radiator Bldg—Night, New York'', 1927. |
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O'Keeffe turned to working more representationally in the 1920s in an effort to move her critics away from [[Freudian]] interpretations. Her earlier work had been mostly abstract, but works such as ''Black Iris III'' (1926) evoke a veiled representation of female genitalia while also accurately depicting the center of an iris. O'Keeffe consistently denied the validity of Freudian interpretations of her art, but fifty years after it had first been interpreted in that way, many prominent feminist artists assessed her work similarly—in essential terms—such as [[Judy Chicago]], who gave O'Keeffe a prominent place in her ''[[The Dinner Party]]''. Although 1970s feminists celebrated O'Keeffe as the originator of "[[female iconography]]", O'Keeffe rejected their celebration of her work and refused to cooperate with any of their projects. |
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In 1922, the ''New York Sun'' published an article quoting O'Keeffe: "It is only by selection, by elimination, and by emphasis that we get at the real meaning of things."<ref name=BMA>{{cite book|last=[[Birmingham Museum of Art]]|title=Birmingham Museum of Art : guide to the collection|year=2010|publisher=Birmingham Museum of Art|location=[Birmingham, Ala]|isbn=978-1-904832-77-5|page=144|url=http://artsbma.org}}</ref> Inspired by [[Precisionism]], ''The Green Apple'', completed in 1922, depicts her notion of simple, meaningful life.<ref name="BMA"/> |
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Beginning in 1923, Stieglitz organized annual exhibitions of O'Keeffe's work. By the mid-1920s, O'Keeffe had become known as one of the most important American artists. Her work commanded high prices; in 1928, Stieglitz masterminded a sale of six of her [[calla lily]] paintings for US$25,000, which was the largest sum ever paid for a group of paintings by a living American artist. Though the sale fell through, Stieglitz's promotion of the potential sale drew extensive media attention. |
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==Hawaii== |
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[[File:O'keeffe - 'Pineapple Bud', 1939, .JPG|thumb|''Pineapple Bud'', oil on canvas painting by ''Georgia O'Keeffe, 1939]] |
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In 1938, the advertising agency [[N. W. Ayer & Son]] approached O'Keeffe about creating two paintings for the Hawaiian Pineapple Company (now [[Dole Food Company]]) to use in their advertising.<ref>{{citation |last=Saville |first=Jennifer |title=Georgia O'Keeffe: Paintings of Hawai'i |location=Honolulu |publisher=Honolulu Academy of Arts |year=1990 |page=13}}</ref><ref>Jennings, Patricia & Maria Ausherman, ''Georgia O'Keeffe’s Hawai’i'', Koa Books, Kihei, Hawaii, 2011, p. 3</ref> Other artists who produced paintings of Hawaii for the Hawaiian Pineapple Company’s advertising include [[Lloyd Sexton, Jr.]], [[Millard Sheets]], [[Yasuo Kuniyoshi]], [[Isamu Noguchi]], and [[Miguel Covarrubias]].<ref>{{citation |last=Severson |first=Don R. |title=Finding Paradise: Island Art in Private Collections |publisher=University of Hawaii Press |year=2002 |page=119}}</ref> The offer came at a critical time in O’Keeffe’s life: she was 51, and her career seemed to be stalling (critics were calling her focus on New Mexico limited, and branding her desert images “a kind of mass production”).<ref name="O’Keeffe’s Hawaii">Tony Perrottet (November 30, 2012), [http://travel.nytimes.com/2012/12/02/travel/georgia-okeeffes-hawaii.html O’Keeffe’s Hawaii] ''[[New York Times]]''.</ref> She arrived in Honolulu February 8, 1939, aboard the [[SS Lurline (1932)|SS ''Lurline'']], and spent nine weeks in [[Oahu]], [[Maui]], [[Kauai]], and the [[Hawaii (island)|island of Hawaii]]. By far the most productive and vivid period was on Maui, where she was given complete freedom to explore and paint.<ref name="O’Keeffe’s Hawaii"/> She painted flowers, landscapes, and traditional Hawaiian fishhooks. Back in New York, O’Keeffe completed a series of 20 sensual, verdant paintings. However, she did not paint the requested pineapple until after the Hawaiian Pineapple Company sent a plant to her New York studio.<ref>{{harvnb|Severson|2002|p=128}}.</ref> |
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==New Mexico== |
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[[File:O'Keeffe Georgia Ram's Head.jpg|left|thumb|Georgia O'Keeffe, ''Ram's Head White Hollyhock and Little Hills,'' 1935, The [[Brooklyn Museum]]]] |
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By 1929, O'Keeffe acted on her increasing need to find a new source of inspiration for her work and to escape summers at [[Lake George (village), New York|Lake George]], where she was surrounded by the Stieglitz family and their friends. O'Keeffe had considered finding a studio separate from Lake George in upstate New York and had also thought about spending the summer in Europe, but opted instead to travel to [[Santa Fe, New Mexico|Santa Fe]], with her friend Rebecca Strand. The two set out by train in May 1929 and soon after their arrival, [[Mabel Dodge Luhan]] moved them to her house in [[Taos, New Mexico|Taos]] and provided them with studios. O'Keeffe went on many [[pack trip]]s exploring the rugged mountains and deserts of the region that summer and later visited the nearby [[D. H. Lawrence Ranch]], where she completed her now famous oil painting, ''The Lawrence Tree'', currently owned by the Wadsworth Athenaeum in [[Hartford, Connecticut|Hartford]], [[Connecticut]]."<ref>{{cite web |url=http://www.unm.edu/~taosconf/Taos/DHlawrence.htm |last=Maurer |first=Rachel |title=The D. H. Lawrence Ranch |publisher=[[University of New Mexico]] |accessdate=15 September 2009}}</ref> |
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While in Taos in 1929, O'Keeffe visited and painted the nearby historical [[San Francisco de Asis Mission Church]] at [[Ranchos de Taos, New Mexico|Ranchos de Taos]]. She made several paintings of the church, as had many artists, and her painting of a fragment of it silhouetted against the sky captured it in a different way.<ref name=ncmhf>{{cite web | url=http://www.cowgirl.net/PreviousExhibits.html |title=Rotating O'Keeffe exhibit |publisher=National Cowgirl Museum and Hall of Fame |location=Fort Worth, Texas |year=2010}}</ref> |
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Between 1929 and 1949, O'Keeffe spent part of nearly every year working in New Mexico. She collected rocks and bones from the desert floor and made them and the distinctive architectural and landscape forms of the area subjects in her work. She also went on several camping trips with friends, visiting important sites in the Southwest, and in 1961, she and others, including photographers [[Eliot Porter]] and [[Todd Webb]], went on a rafting trip down the [[Colorado River]] about [[Glen Canyon]], [[Utah]].<ref name=ncmhf/> |
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Late in 1932, O'Keeffe suffered a nervous breakdown that was brought on, in part, because she was unable to complete a [[Radio City Music Hall]] mural project that had fallen behind schedule. She was hospitalized in early 1933 and did not paint again until January 1934. In the spring of 1933 and 1934, O'Keeffe recuperated in [[Bermuda]], and she returned to New Mexico in the summer of 1934. In August of that year, she visited [[Ghost Ranch]], north of [[Abiquiu, New Mexico|Abiquiu]], for the first time and decided immediately to live there; in 1940, she purchased a house on the ranch property. The varicolored cliffs of Ghost Ranch inspired some of her most famous landscapes. In 1977, O'Keeffe wrote: "[the] cliffs over there are almost painted for you—you think—until you try to paint them."<ref name=ncmhf/> Among guests to visit her at the ranch over the years were [[Charles Lindbergh|Charles and Anne Lindbergh]], singer-songwriter [[Joni Mitchell]], poet [[Allen Ginsberg]], and photographer [[Ansel Adams]]. |
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Known as a loner, O'Keeffe explored the land she loved often in her [[Ford Model A (1927-1931)|Ford Model A]], which she purchased and learned to drive in 1929. She often talked about her fondness for Ghost Ranch and Northern New Mexico, as in 1943, when she explained: "Such a beautiful, untouched lonely feeling place, such a fine part of what I call the 'Faraway'. It is a place I have painted before . . . even now I must do it again."<ref name=ncmhf/> |
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In the 1930s and 1940s, O'Keeffe's reputation and popularity continued to grow, earning her numerous commissions. Her work was included in exhibitions in and around New York. She completed ''Summer Days'', a painting featuring a deer's skull adorned with various wildflowers, against a desert background in 1936, and it became one of her most famous and well-known works. During the 1940s O'Keeffe had two one-woman retrospectives, the first at the [[Art Institute of Chicago]] (1943), and the second in 1946 at the [[Museum of Modern Art]] (MOMA) in Manhattan, the first retrospective MOMA held for a [[Women artists|woman artist]]. O'Keeffe enjoyed many accolades and honorary degrees from numerous universities. In the mid-1940s, the [[Whitney Museum of American Art]] in Manhattan sponsored a project to establish the first catalogue of her work. |
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[[File:Plaza Blanca cliffs, NM.jpg|thumb|O'Keeffe's "White Place," the Plaza Blanca cliffs and [[badlands]] near [[Abiquiu, NM|Abiquiu]].]] |
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[[File:Pedernal Mountain, NM.jpg|thumb|[[Cerro Pedernal]], viewed from [[Ghost Ranch]]. This was a favorite subject for O'Keeffe, who once said, "I painted it often enough thinking that, if I did so, God would give it to me."<ref>[http://www.drbilllong.com/CurrentEventsXI/OKeeffeII.html "Her Story and Her Work"] by Bill Long, 6/29/07.</ref>]] |
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As early as 1936, O'Keeffe developed an intense interest in what is called the "Black Place", which was about 150 miles west of her Ghost Ranch house, and she made an extensive series of paintings of this site in the 1940s. She traveled and camped there often with her friend, [[Maria Chabot]], and in 1945 with [[Eliot Porter]] as well as in subsequent years,<ref>[http://www.cartermuseum.org/collections/porter/collection.php?asn=P1990-54-671&mcat=2&scat=8 Porter's photograph, ''Eroded Clay and Rock Flakes, Black Place, New Mexico, July 20, 1953'', on cartermuseum.org, in the [[Amon Carter Museum]] Eliot Porter Collection] Retrieved 16 June 2010</ref> 1959, and 1977. O'Keeffe said that the Black Place resembled "a mile of elephants with gray hills and white sand at their feet."<ref name=ncmhf/> At times the wind was so strong when she was painting there that she had trouble keeping her canvas on the easel. When the heat from the sun became intense, she crawled under her car for shade. The Black Place still remains remote and uninhabited. |
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She also made paintings of the "White Place", a white rock formation located near her Abiquiu house. In 1945, O'Keeffe bought a second house, an abandoned [[hacienda]]<ref name=ESOkee>{{cite web|title=O'Keeffe - "the faraway" continued (history) |year= 2000 |url=http://www.ellensplace.net/okeeffe5.html}}</ref> in [[Abiquiu]], some 18 miles (26 km) south of Ghost Ranch.<ref name=ESOkee/> The Abiquiu house was renovated through 1949 by Chabot. |
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Shortly after O'Keeffe arrived for the summer in New Mexico in 1946, Stieglitz suffered a [[cerebral thrombosis]]. She immediately flew to New York to be with him. He died on July 13, 1946. She buried his ashes at Lake George. She spent the next three years mostly in New York settling his estate, and moved permanently to New Mexico in 1949. From 1946 through the 1950s, she made the architectural forms of her [[Abiquiu]] house — patio wall and door — subjects in her work. Another distinctive painting of the decade was ''Ladder to the Moon'', 1958. From her first world travels in the late 1950s, O'Keeffe produced an extensive series of paintings of clouds, such as ''Above the Clouds I,'' 1962/1963. These were inspired by her views from the windows of airplanes. Below is an external link to a color image of one of these [[aerial landscape|aerial]] [[cloudscape art|cloudscape]] canvases. |
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O'Keeffe met photographer [[Todd Webb]] in the 1940s, and after his move to New Mexico in 1961, he often made photographs of her, as did numerous other important American photographers, who consistently presented O'Keeffe as a "loner, a severe figure and self-made person."<ref name=twsOctBE15>{{cite news |first= Michael |last=Kilian |title= Santa Fe exhibit paints a different picture of O'Keeffe |work=[[Chicago Tribune]] |quote= ... her place, through the eyes and lens of her close and longtime friend, photographer Todd Webb (1905-2000), who produced a glorious collection of photos of her and her surroundings at her Ghost Ranch and Abiquiu, N.M., houses between 1955 and 1981. |date= August 1, 2002 |url= http://articles.chicagotribune.com/2002-08-01/features/0208010019_1_georgia-o-keeffe-museum-todd-webb-painted |accessdate= 2010-10-10 }}</ref> While O'Keeffe was known to have a "prickly personality", Webb's photographs portray her with a kind of "quietness and calm" suggesting a relaxed friendship, and revealing new contours of O'Keeffe's character.<ref name=twsOctBE22>{{cite news |first=William |last=Zimmer |title= ART; Exploring the Affinities Among Painting, Music and Dance |work=[[The New York Times]] |quote= O'Keeffe's prickly personality is legendary, but with Webb she displays the kind of quietness and calm she wanted to embody. |date= December 31, 2000 |url= http://www.nytimes.com/2000/12/31/nyregion/art-exploring-the-affinities-among-painting-music-and-dance.html |accessdate= 2010-10-10 }}</ref> |
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In 1962, O'Keeffe was elected to the fifty-member [[American Academy of Arts and Letters]]. She was elected a Fellow of the [[American Academy of Arts and Sciences]] in 1966.<ref name=AAAS>{{cite web|title=Book of Members, 1780-2010: Chapter O|url=http://www.amacad.org/publications/BookofMembers/ChapterO.pdf|publisher=American Academy of Arts and Sciences|accessdate=14 April 2011}}</ref> In the fall of 1970, the Whitney Museum of American Art mounted the ''Georgia O'Keeffe Retrospective Exhibition'', the first retrospective exhibition of her work in New York since 1946, the year Stieglitz died. This exhibit did much to revive her public career. |
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==Later years and death== |
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In 1972, O'Keeffe's eyesight was compromised by [[macular degeneration]], leading to the loss of central vision and leaving her with only [[peripheral vision]]. She stopped oil painting without assistance in 1972, but continued working in pencil and charcoal until 1984.<ref>Georgia O'Keeffe Museum. [http://www.okeeffemuseum.org/biography.html "Biography"]. Retrieved February 27, 2011.</ref> Juan Hamilton, a young potter, appeared at her ranch house in 1973 looking for work. She hired him for a few odd jobs and soon employed him full-time. He became her closest confidante, companion, and business manager until her death. Hamilton taught O'Keeffe to work with clay, and working with assistance, she produced clay pots and a series of works in watercolor. In 1976, she wrote a book about her art and allowed a film to be made about her in 1977. |
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On January 10, 1977, [[President of the United States|President]] [[Gerald R. Ford]] presented O'Keeffe with the [[Presidential Medal of Freedom]], the highest honor awarded to American citizens.<ref>{{cite web |archiveurl=http://web.archive.org/web/20071024122700/http://www.medaloffreedom.com/GeorgiaOKeefe.htm |title=Georgia O'Keeffe|archivedate=October 24, 2008 |accessdate=June 1, 2010}}</ref> In 1985, she was awarded the [[National Medal of Arts]]. |
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O'Keeffe became increasingly frail in her late 90s. She moved to Santa Fe in 1984, where she died on March 6, 1986, at the age of 98. In accordance with her wishes, her body was cremated and her ashes were scattered to the wind at the top of [[Pedernal Mountain]], over her beloved "faraway". |
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==Legacy== |
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{{external media | width = 210px | align = right |
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| headerimage=[[File:Georgia O'Keeffe.jpg|210px]] |
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| video1 =[http://www.c-spanvideo.org/program/310650-1 Life and Artwork of Georgia O'Keeffe], the Georgia O'Keeffe Museum (11:00), [[C-SPAN]]<ref name="cspan">{{cite web | title =Life and Artwork of Georgia O'Keeffe | work = |
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| publisher =[[C-SPAN]] | date = January 9, 2013 |
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| url =http://www.c-spanvideo.org/program/310650-1 |
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| accessdate =March 14, 2013 }}</ref> }} |
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Following O'Keeffe's death, her family contested her will because [[codicil (will)|codicils]] made to it in the 1980s had left all of her estate to Hamilton. The case was ultimately settled out of court in July 1987.<ref>{{cite news|publisher=Associated Press |title=Settlement Is Granted Over O'Keeffe Estate |publisher=New York Times |date=July 2, 1987 |url=http://query.nytimes.com/gst/fullpage.html?res=9B0DE2D7133FF935A15754C0A961948260 |accessdate=June 1, 2010}}</ref> The case became famous as case law in estate planning.<ref>{{cite journal |author=Anne Dingus |publisher=[[Texas Monthly]] |url=http://www.texasmonthly.com/ranch/readme/okeeffe.php |title=Georgia O'Keeffe |accessdate=January 3, 2007}}</ref><ref>{{cite web|author=Vaughn W. Henry |publisher=Planned Giving Design Center, LLC |url=http://www.pgdc.com/usa/item/?itemID=210008 |title=Establishing a Value is Important! |date=May 10, 2004 |accessdate=January 3, 2007}}</ref> A substantial part of her estate's assets were transferred to the Georgia O'Keeffe Foundation, which dissolved in 2006, leaving these assets to the [[Georgia O'Keeffe Museum]], established in Santa Fe in 1997 to perpetuate O'Keeffe's artistic legacy. These assets included a large body of her work, photographs, archival materials, and her Abiquiu house, library, and property. The [[Georgia O'Keeffe Home and Studio]] in [[Abiquiu]] was designated a [[National Historic Landmark]] in 1998 and is now owned by the [[Georgia O'Keeffe Museum]]. |
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In 2006, a fossilized species of [[archosaur]] was named after O'Keeffe. Blocks originally quarried in 1947 and 1948 near O'Keeffe's home at Ghost Ranch were opened fifty years after being collected. The fossil strongly resembles [[ornithomimid]] [[dinosaurs]], but are actually more closely related to [[crocodiles]]. The specimen was named ''[[Effigia okeeffeae]]'' ("O'Keeffe's Ghost") in January 2006, "in honor of Georgia O'Keeffe for her numerous paintings of the badlands at Ghost Ranch and her interest in the ''[[Coelophysis]]'' Quarry when it was discovered".<ref>{{cite journal|url=http://ukpmc.ac.uk/articlerender.cgi?artid=1098138 |journal=Proc Biol Sci. |date=May 7, 2006 |volume=273 |issue=1590 |pages= 1045–1048| doi= 10.1098/rspb.2005.3426 |publisher=The Royal Society |title=Extreme convergence in the body plans of an early suchian (Archosauria) and ornithomimid dinosaurs (Theropoda) |author=Sterling J Nesbitt1, and Mark A Norell |pmid=16600879 |pmc=1560254}}</ref> |
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In 1991, the [[Public Broadcasting Service (PBS)]] aired the [[American Playhouse]] production ''A Marriage: Georgia O'Keeffe and Alfred Stieglitz'', starring [[Jane Alexander]] as Georgia O'Keeffe and [[Christopher Plummer]] as [[Alfred Stieglitz]]. [[Lifetime Television]] produced [[Georgia O'Keeffe (2009 film)|a biopic]] of Georgia O'Keeffe premiering on September 19, 2009, starring [[Joan Allen]] as O’Keeffe, [[Jeremy Irons]] as [[Alfred Stieglitz]], [[Henry Simmons]] as [[Jean Toomer]], [[Ed Begley, Jr.]] as Stieglitz's brother Lee, and [[Tyne Daly]] as [[Mabel Dodge Luhan]].<ref>{{cite web|publisher=Lifetime Television's |url=http://www.mylifetime.com/on-tv/movies/georgia-okeeffe |title=Georgia O'Keeffe}}</ref><ref>{{Citation|url=http://www.mylifetime.com/on-tv/movies/georgia-okeeffe/previews/video/georgia-okeeffe-preview |title=Georgia O'Keeffe}}</ref> |
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A new exhibit of O'Keeffe's works at the Georgia O'Keeffe Museum in [[Santa Fe, New Mexico|Santa Fe]], [[New Mexico]], which emphasizes her lesser-known abstract works, was on view from May 2010.<ref name=twsJun13a>{{cite news |
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|author= |
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|title= O'Keeffe Museum Transforms With Abstract Works: Special Exhibition Of O'Keeffe Abstractions Draw Thousands To Santa Fe Museum |
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|publisher=CBS News |
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|quote= The Georgia O'Keeffe Museum has been transformed. Missing are the iconic paintings of flowers, bones and colorful landscapes that have made the American modernist famous the world over. In their place are streaks of yellow and red, brilliant pastel swirls, blocks of contrasting color and stark charcoal lines slicing across nearly bare sheets of paper. ... The museum is showcasing a special collection of more than 100 drawings, paintings and sculptures as part of "Georgia O'Keeffe: Abstraction." |
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|date= June 12, 2010 |
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|url= http://www.cbsnews.com/stories/2010/06/12/ap/entertainment/main6575235.shtml |
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|accessdate= 2010-06-13 |
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}} {{Dead link|date=September 2010|bot=RjwilmsiBot}}</ref><ref name=twsJun13b>{{cite news |
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|author= Candace jackson |
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|title= Painting a New Picture of Georgia O'Keeffe |
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|work=Wall Street Journal |
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|quote= This fall, a new exhibit will attempt to redefine that legacy. The expansive retrospective, which opens at New York's Whitney Museum of American Art on September 17, will focus on O'Keeffe's lesser-known abstract works. The show will eventually travel to the Phillips Collection in Washington and the Georgia O'Keeffe Museum in Santa Fe, N.M. It marks the first major exhibition of her work in New York in more than 20 years. |
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|date= September 3, 2009 |
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|url= http://online.wsj.com/article/SB10001424052970204731804574388823084770420.html |
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|accessdate= 2010-06-13 |
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}}</ref> |
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==Writings== |
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* O’Keeffe, Georgia, ''Georgia O’Keeffe'', New York: Viking Press, 1976. ISBN 0-670-33710-2 |
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* O'Keeffe, Georgia, ''Some Memories of Drawings'', Albuquerque: University of New Mexico Press, 1988. ISBN 978-0-8263-1113-9 |
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* ''Lovingly, Georgia'': The Complete Correspondence of Georgia O'Keeffe & Anita Pollitzer (ed C.Giboire).Touchstone Books 1990 ISBN 978-0-671-69236-0 |
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* Giboire, Clive, ed. ''Lovingly, Georgia: The Complete Correspondence of Georgia O'Keeffe & Anita Pollitzer.'' New York: Simon & Schuster, 1990. ISBN 978-0-671-69237-2 {{Please check ISBN|reason=Check digit (2) does not correspond to calculated figure.}} |
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* Greenough, Sarah, ed. ''My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz: Volume One, 1915-1933.'' Annotated edition. New Haven, CT: Yale University Press, 2011. ISBN 978-0-300-16630-9 |
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==See also== |
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*[[Georgia O'Keeffe Cooperative House]] |
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*[[Georgia O'Keeffe Middle School]] |
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*[[Boyce-Sneed Feud]] |
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==References== |
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{{reflist|colwidth=30em}} |
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==Further reading== |
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* Georgia O'Keeffe Museum. [http://www.okeeffemuseum.org/background/chronology.html About Georgia O'Keeffe] |
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* Haskell, Barbara, Barbara Buhler Lynes, et al., 2009. ''Georgia O'Keeffe: Abstraction'. New Haven, ISBN 978-0-300-14817-6 |
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* Jennings, Patricia & Maria Ausherman, ''Georgia O'Keeffe’s Hawai’i'', Koa Books, Kihei, Hawaii, 2011, ISBN 978-1-935646-10-5 |
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* Lynes, Barbara Buhler, 2007. Georgia O'Keeffe Museum Collections. New York. ISBN 978-0-8109-0957-1 |
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* Lynes, Barbara Buhler, Georgia O'Keeffe. ''Encyclopædia Britannica online'' |
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* Lynes, Barbara Buhler, 1999. ''Georgia O'Keeffe: Catalogue Raisonné'', London. ISBN 0-300-08176-6 |
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* Merrill, C.S., 2010. ''Weekends with O'Keeffe'', University of New Mexico Press, Albuquerque. ISBN 978-0-8263-4928-6 |
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* Messinger, Lisa Mintz, 2001. ''Georgia O'Keeffe'', Thames & Hudson, London. ISBN 0-500-20340-7 |
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* O'Keeffe,Georgia, "The Marriage: Georgia O'Keeffe and Alfred Stieglitz," [[American Playhouse]], [[PBS]], 1991 |
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* Orford, Emily-Jane Hills. "The Creative Spirit: Stories of 20th Century Artists." Baico Publishing, Ottawa, 2008 ISBN 978-1-897449-18-9 |
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* Patten, Christine Taylor and Alvaro Cardona-Hine, 1992. ''Miss O'Keeffe'', Albuquerque, University of New Mexico Press. |
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* Robinson, Roxana, 2000. O'Keeffe, Georgia. ''American National Biography Online'' |
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* Robinson, Roxana, 1990. ''Georgia O'Keeffe: A Life'', Bloomsbury, London. ISBN 0-7475-0557-8 |
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* Saville, Jennifer, Georgia ''O'Keeffe, Paintings of Hawai'i'', Honolulu, Honolulu Academy of Arts, 1990, ISBN 0-937426-11-3 |
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==External links== |
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{{Commons category|Georgia O'Keeffe}} |
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{{wikiquote}} |
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* [http://www.okeeffemuseum.org/ Georgia O'Keeffe Museum] |
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:* [http://contentdm.okeeffemuseum.org/ Georgia O'Keeffe Museum Collections Online] |
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* {{MoMA artist|4360}} |
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* [http://beinecke.library.yale.edu/digitallibrary/asgo.html Alfred Stieglitz/Georgia O'Keeffe Archive] at the [http://www.library.yale.edu/beinecke/ Beinecke Rare Book and Manuscript Library at Yale University] |
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* [http://www.metmuseum.org/toah/hd/geok/geok_2.htm Color image of aerial-view cloudscape by Georgia O'Keeffe] |
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* [http://video.google.com/videoplay?docid=5677272389162244435&q=nmpbs/ Documentary Film, ''Georgia O'Keeffe''] |
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* {{Find a Grave|3484}} |
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* [http://www.museumsyndicate.com/artist.php?artist=10 Georgia O'Keeffe Gallery at MuseumSyndicate] |
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* {{worldcat id|id=lccn-n79-148946}} |
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*[http://www.nea.gov/honors/medals/medalists_year.html#85 Lifetime Honors - National Medal of Arts]. |
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*[http://www.phxart.org/slideshow/index.html#/COL/72157606223994854/2678322588/ The Apple] (1920–1922) [[Phoenix Art Museum]] |
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*[http://www.phxart.org/slideshow/index.html#/COL/72157606223994854/2677480987/ Pink Abstraction] (1929) [[Phoenix Art Museum]] |
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{{National Women's Hall of Fame}} |
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<!--Don't "fix" this DEFAULTSORT; punctuation doesn't sort properly.--> |
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{{Authority control|VIAF=32021794}} |
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{{Persondata |
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|NAME= O'Keeffe, Georgia |
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|ALTERNATIVE NAMES= O'Keeffe, Georgia Totto (birth name) |
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|SHORT DESCRIPTION= Painter |
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|DATE OF BIRTH= November 15, 1887 |
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|PLACE OF BIRTH= [[Sun Prairie, Wisconsin|Sun Prairie]], [[Wisconsin]], [[United States]] |
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|DATE OF DEATH= March 6, 1986 |
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|PLACE OF DEATH= [[Santa Fe, New Mexico|Santa Fe]], [[New Mexico]], [[United States]] |
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}} |
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{{DEFAULTSORT:OKeeffe, Georgia}} |
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[[Category:American women painters]] |
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[[Category:Modern painters]] |
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[[Category:Precisionism]] |
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[[Category:Flower artists]] |
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[[Category:Artists from New Mexico]] |
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[[Category:Artists from New York]] |
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[[Category:Artists from Wisconsin]] |
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[[Category:Hawaii artists]] |
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[[Category:United States National Medal of Arts recipients]] |
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[[Category:Presidential Medal of Freedom recipients]] |
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[[Category:Art Students League of New York alumni]] |
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[[Category:Columbia University alumni]] |
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[[Category:School of the Art Institute of Chicago alumni]] |
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[[Category:University of Virginia alumni]] |
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[[Category:People from Dane County, Wisconsin]] |
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[[Category:People from Amarillo, Texas]] |
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[[Category:American people of Hungarian descent]] |
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[[Category:American people of Irish descent]] |
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[[Category:1887 births]] |
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[[Category:1986 deaths]] |
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{{Link FA|ka}} |
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Revision as of 22:11, 20 April 2013
georgia was openly gay. her husband was just a beard. she was part of the ILLuminati. im too based |