Georgia O'Keeffe

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Georgia O'Keeffe
Georgia O'Keeffe, 1918, photograph by Alfred Stieglitz
Born Georgia Totto O'Keeffe
(1887-11-15)November 15, 1887
Town of Sun Prairie, Wisconsin, U.S.
Died March 6, 1986(1986-03-06) (aged 98)
Santa Fe, New Mexico, U.S.
Nationality American
Education School of the Art Institute of Chicago
Columbia University
University of Virginia
Art Students League of New York
Known for Painting
Movement American modernism
Awards National Medal of Arts (1985)
Presidential Medal of Freedom (1977)

Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. She was best known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been recognized as the "Mother of American modernism".[1][2]

In 1905, O'Keeffe began her serious formal art training at the School of the Art Institute of Chicago and then the Art Students League of New York, but she felt constrained by her lessons that focused on recreating or copying what was in nature. In 1908, unable to fund further education, she worked for two years as a commercial illustrator, and then spent seven years between 1911 and 1918 teaching in Virginia, Texas, and South Carolina. During that time, she studied art during the summers between 1912 and 1914 and was introduced to the principles and philosophies of Arthur Wesley Dow, who espoused created works of art based upon personal style, design, and interpretation of subjects, rather than trying to copy or represent them. This caused a major change in the way she felt about and approach art, which is seen in the beginning stages in her watercolors from her studies at the University of Virginia and more dramatically in the charcoal drawings that she produced in 1915 that led to total abstraction. Alfred Stieglitz, an art dealer and photographer, held an exhibit of her works in 1916. Over the next couple of years, she taught and continued her studies at the Teachers College, Columbia University.

She moved to New York in 1918 at Stieglitz's request and began working seriously as an artist. They developed a professional relationship, he promoted and exhibited her works, and a personal relationship that led to their marriage in 1924. O'Keeffe created many forms of abstract art, including close-ups of flowers, like the Red Canna paintings, that many found to represent women's genitalia, although O'Keeffe consistently denied that intention. The reputation of the portrayal of women's sexuality was also fueled by explicit and sensuous photographs that Stieglitz had taken and exhibited of O'Keeffe.

O'Keefe and Stieglitz, lived together in New York until 1929, when O'Keeffe began spending part of the year in the Southwest, which served as inspiration for her paintings of New Mexico landscapes and images of animal skulls, like Cow's Skull: Red, White, and Blue and Ram's Head White Hollyhock and Little Hills. After Stieglitz’s death, she living permanently in New Mexico at Georgia O'Keeffe Home and Studio in Abiquiú, until the last years of her life when she lived in Santa Fe. In 2014, O'Keeffe's 1932 painting Jimson Weed sold for $44,405,000, more than three times the previous world auction record for any female artist. The Georgia O'Keeffe Museum was established after her death in Santa Fe.

Early life[edit]

Georgia O'Keeffe was born on November 15, 1887[2][3] in a farmhouse located at 2405 Hwy T in the town of Sun Prairie, Wisconsin.[4][5] Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her father was of Irish descent. Her maternal grandfather George Victor Totto, for whom O'Keeffe was named, was a Hungarian count who came to the United States in 1848.[2][6]

O'Keeffe was the second of seven children and the first daughter. She attended Town Hall School in Sun Prairie.[7] By age ten she had decided to become an artist,[8] 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 late 1902, the O'Keeffes moved from Wisconsin to the close-knit neighborhood of Peacock Hill in Williamsburg, Virginia. O'Keeffe 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 Institute in Virginia (now Chatham Hall) and graduated in 1905. She was a member of the Kappa Delta sorority.[2][7]

When she taught and headed the art department at West Texas State Normal College, her youngest sibling, Claudia lived with her, at her mother's request to watch over her as she studied at the school.[9] In 1917, visited her brother, Alexis, at a military camp in Texas before he shipped out for Europe during World War I. She created the painting, The Flag,[10] which expressed her anxiety and depression about the war.[11]


Education and early career[edit]

Further information: Early works of Georgia O'Keeffe
Georgia O'Keeffe, Untitled, Dead Rabbit with Copper Pot, 1908, Art Students League of New York collection

O'Keeffe studied and ranked at the top of her class at the School of the Art Institute of Chicago from 1905 to 1906, studying with John Vanderpoel.[2][8] Due to typhoid fever, she had to take a year off from her education.[2] In 1907, she attended the Art Students League in New York City, where she studied under William Merritt Chase, Kenyon Cox and F. Luis Mora.[2] In 1908, she won the League's William Merritt Chase still-life prize for her oil painting Dead Rabbit with Copper Pot. Her prize was a scholarship to attend the League's outdoor summer school in Lake George, New York.[2] While in the city, O'Keeffe visited galleries, like 291, co-owned by her future husband, photographer Alfred Stieglitz. The gallery promoted the work of avant-garde artists from the United States and Europe and photographers.[2]

In 1908, O'Keeffe found out that she would not be able to finance her studies. Her father had gone bankrupt and her mother was seriously ill with tuberculosis.[2] She also was not interested in creating a career as a painter based upon the mimetic tradition which had formed the basis of her art training.[8] She took a job in Chicago as a commercial artist and worked there until 1910, when she returned to Virginia to recuperate from a case of the measles[12] and later moved with her family to Charlottesville.[2] She did not paint for four years, and said that the smell of turpentine made her sick.[8] She began teaching art in 1911. One of her positions was her former school, Chatham Episcopal Institute in Virginia.[2][13]

Georgia O’Keeffe, Untitled, The Rotunda at University of Virginia, watercolor on paper, 11 7/8 x 9 (30.16 x 22.86), 1912-1914

She took a summer art class in 1912 at at the University of Virginia from Alon Bemet, who was a Columbia University Teachers College faculty member. Under Bemet, she learned of innovative ideas of Arthur Wesley Dow, a colleague of her instructor. Dow's approach was influenced by principles of Japanese art regarding design and composition. She began to experiment with abstract compositions and develop a personal style that veered away from realism.[2][8] She took classes at the University of Virginia for two more summers.[14] She also took a class in the spring of 1914 at Teachers College of Columbia University with Dow, who further influenced her thinking about the process of making art.[15] Her studies at the University of Virginia, based upon Dow's principles, were pivotal in O'Keeffe's development as an artist. Through her exploration and growth as an artist, she helped to establish the American modernism movement. In November 2016, the Georgia O'Keeffe Museum recognized the importance of her time in Charlottesville by dedicating an exhibition, using watercolors that she had created over three summers. It was entitled, O’Keeffe at the University of Virginia, 1912-1914.[14]

From 1912 to 1914, she taught art in the public schools in Amarillo in the Texas Panhandle. During the summers, we was a teaching assistant to Bemet.[2]

Georgia O'Keeffe, Drawing XIII, 1915, Charcoal on paper, Metropolitan Museum of Art

She taught at Columbia College, Columbia, South Carolina in late 1915, where she completed a series of highly innovative charcoal abstractions,[8] based on her personal sensations.[13] The Georgia O'Keeffe museum says that she was one of the first American artists to practice pure abstraction.[2] O'Keeffe mailed the drawings to friend and former classmate, Anita Pollitzer, who took them to Alfred Stieglitz at his 291 gallery early in 1916. Stieglitz found them to be the "purest, finest, sincerest things that had entered 291 in a long while", and said that he would like to show them. In early 1916, O'Keeffe was in New York at Teachers College, Columbia University. In April that year, Stieglitz exhibited ten of her drawings at 291.[2][8]

Georgia O'Keeffe as a teaching assistant to Alon Bement at the University of Virginia in 1915

After further course work at Columbia in early 1916 and summer teaching for Bement,[2] she was the chair of the art department beginning the fall of 1916 at the West Texas State Normal College, in Canyon.[16] She began a series of watercolor paintings based upon the scenery and expansive views during her walks, which often included Palo Duro Canyon.[13][17] O'Keeffe, who enjoyed sunrises and sunsets, developed a fondness for intense and nocturnal colors. Building upon a practice she began in South Carolina, O'Keeffe painted to express her most private sensations and feelings. Rather than sketching out a design before painting, she freely created designs. O'Keeffe continued to experiment until she believed she truly captured her feelings in the watercolor, Light Coming on the Plains No. I (1917).[13] She "captured a monumental landscape in this simple configuration, fusing blue and green pigments in almost indistinct tonal graduations that simulate the pulsating effect of light on the horizon of the Texas Panhandle," according to author Sharyn Rohlfsen Udall.[13][17]

New York[edit]

Stieglitz, nearly a quarter century older than O'Keeffe, provided financial support and arranged for a residence and place for her to paint in New York in 1918. They developed a close personal relationship and he promoted her work.[2] She came to know the many early 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 became sick during the 1918 flu pandemic, like so many others.[18]

Soon after 1918, she began working primarily in oil, a shift away from having worked primarily in watercolor in the earlier 1910s.

Inspired by Precisionism, The Green Apple, completed in 1922, depicts her notion of simple, meaningful life.[19] O'Keeffe said that year, "it is only by selection, by elimination, and by emphasis that we get at the real meaning of things."[19]

By the mid-1920s, O'Keeffe began making large-scale paintings of natural forms at close range, as if seen through a magnifying lens, such as Oriental Poppies[20][21] and several Red Canna paintings.[22] She painted her first large-scale flower painting, Petunia, No. 2, in 1924 that was first exhibited in 1925.[2] 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.[23]

After having moved into a 30th floor apartment in the Shelton Hotel in 1925, O'Keeffe began a series of paintings of the city skyscrapers and skyline.[24] One of her most notable works, which demonstrates her skill at depicting the buildings in the Precisionist style, is the Radiator Building—Night, New York.[25][26] Other examples New York Street with Moon (1925),[27] The Shelton with Sunspots, N.Y. (1926),[28] and City Night (1926).[2] She made a cityscape, East River from the Thirtieth Story of the Shelton Hotel in 1928, a dismal painting of her view of the East River and smoke-emitting factories in Queens.[24] The next year she made her final New York City skyline and skyscraper paintings and traveled to New Mexico, which became a source of inspiration for her work.[25]

In 1924, Stieglitz arranged an simultaneous exhibit of O'Keeffe's works of arts and his photographs at Anderson Galleries and arranged for other major exhibits.[29] In 1928, he announced to the press that six of her calla lily paintings sold to an anonymous buyer in France for US$25,000, but there is no evidence that this transaction occurred the way Stieglitz reported. However, due to the press, O'Keeffe's paintings sold at a higher price from that point forward.[30][31] By the late twenties she was noted for her work as an American artists, particularly for the paintings of New York city skyscrapers and close-up paintings of flowers.[29]


O'Keeffe traveled to New Mexico by 1929 with her friend Rebecca Strand and stayed in Taos at the home of Mabel Dodge Luhan, who provided the women with studios.[32] O'Keeffe went on many pack trips exploring the rugged mountains and deserts of the region that summer and later visited the nearby D. H. Lawrence Ranch,[32] where she completed her now famous oil painting, The Lawrence Tree, currently owned by the Wadsworth Athenaeum in Hartford, Connecticut.[33] O'Keeffe visited and painted the nearby historical San Francisco de Asis Mission Church at 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.[34]

New Mexico and New York[edit]

O'Keeffe then 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. Known as a loner, O'Keeffe explored the land she loved often in her 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."[34]

Georgia O'Keeffe, Ram's Head White Hollyhock and Little Hills, 1935, The Brooklyn Museum

Due to exhaustion and poor health, she did not work from late 1932 until about the mid-1930s.[34] O'Keeffe's reputation and popularity continued to grow, though, 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.[citation needed]

Pineapple Bud, 1939, oil on canvas

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.[35][36][37] 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.[38] 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”).[39] She arrived in Honolulu February 8, 1939 aboard the SS Lurline, and spent nine weeks in Oahu, Maui, Kauai, and the island of Hawaii. By far the most productive and vivid period was on Maui, where she was given complete freedom to explore and paint.[39] 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 the Hawaiian Pineapple Company sent a plant to her New York studio.[40]

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 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.[citation needed]

O'Keeffe's "White Place," the Plaza Blanca cliffs and badlands near Abiquiú
Cerro Pedernal, viewed from Ghost Ranch. This was a favorite subject for O'Keeffe, who once said, "It's my private mountain. It belongs to me. God told me if I painted it enough, I could have it"[41][42]

In the 1940s, O'Keeffe made an extensive series of paintings of what is called the "Black Place", about 150 miles west of her Ghost Ranch house.[43] O'Keeffe said that the Black Place resembled "a mile of elephants with gray hills and white sand at their feet."[34] She made paintings of the "White Place", a white rock formation located near her Abiquiú house.[44]


From 1946 through the 1950s, she made the architectural forms of her Abiquiú 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 cloudscape canvases.[citation needed]

In 1970, the Whitney Museum of American Art mounted the Georgia O'Keeffe Retrospective Exhibition,[29] the first retrospective exhibition of her work in New York since 1946, the year Stieglitz died/[citation needed]

In 1972, O'Keeffe lost much of her eyesight due to macular degeneration, leaving her with only peripheral vision. She stopped oil painting without assistance in 1972.[45] In the 1970s, she made a series of works in watercolor.[citation needed] Her autobiography, Georgia O'Keeffe, published in 1976 was a best seller.[29] She allowed a film to be made about her in 1977.[citation needed]

Judy Chicago gave O'Keeffe a prominent place in her The Dinner Party (1979) in recognition of what many prominent feminist artists considered groundbreaking introduction of sensual and feminist imagery in her works of art.[23] Although the 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.[citation needed]

She continued working in pencil and charcoal until 1984.[45]

Personal life and death[edit]

In 1918, O'Keeffe accepted Stieglitz's invitation to move to New York and accept his financial support. They developed both a personal and professional relationship. In 1924, Stieglitz and his wife Emmeline were divorced, after which he and O'Keeffe were married. The primarily lived in New York City, but spent their summers at his family home, Oaklawn, in Lake George in upstate New York. They spent part of every year there until 1929, when O'Keeffe spent the first of many summers painting in New Mexico.[29]

In 1924, Stieglitz's divorce was 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 was being treated in a sanatorium for depression and hallucinations at that time. 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,

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.[46]

Alfred Stieglitz photograph of O'Keeffe with sketchpad and watercolors, 1918

Stieglitz started photographing O'Keeffe when she visited him in New York City to see her 1917 exhibition. Most of the more erotic photographs were made in the 1910s and early 1920s. In February 1921, forty-five of Stieglitz's photographs were exhibited in a retrospective exhibition at the Anderson Galleries, including many of O'Keeffe, some of which depicted her in the nude. It created a public sensation. By 1937, when he retired from photography, he had made more than 350 portraits of her.[47] She once made a remark to Pollitzer about the nude photographs which may be the best indication of O'Keeffe's ultimate reaction to being their subject: "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."[48]

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, 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, 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 and provided them with studios.[32] O'Keeffe then spent part of nearly every year working in New Mexico. She also went on several camping trips with friends, visiting important sites in the Southwest.

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 early 1933 and 1934, O'Keeffe recuperated in Bermuda, and she returned to New Mexico in mid-1934. In August of that year, she visited Ghost Ranch, north of Abiquiú, for the first time and decided immediately to live there; in 1940, she moved into 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."[34] Among guests to visit her at the ranch over the years were Charles and Anne Lindbergh, singer-songwriter Joni Mitchell, poet Allen Ginsberg, and photographer Ansel Adams.[citation needed] She traveled and camped at "Black Place" often with her friend, Maria Chabot, and later with Eliot Porter.[43][34]

In 1945, O'Keeffe bought a second house, an abandoned hacienda[44] in Abiquiú, some 18 miles (26 km) south of Ghost Ranch.[44] 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,[citation needed] and moved permanently to New Mexico in 1949, spending time at both Ghost Ranch and her Abiquiú house.[29] The Abiquiú house was renovated through 1949 by Chabot.[citation needed]

Todd Webb, a photographer she met in the 1940s, moved 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."[49] 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.[50] In 1961, she and others, including Webb and photographer Eliot Porter, went on a rafting trip down the Colorado River about Glen Canyon, Utah.[34]

In 1973 she hired Juan Hamilton, a young potter, to perform a few odd jobs and soon employed him full-time. He became her closest confidant, companion, and business manager until her death. Hamilton taught O'Keeffe to work with clay and, working with assistance, she produced clay pots.[citation needed]

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.[51] 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".

Following O'Keeffe's death, her family contested her will because 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.[52] The case became famous as a precedent in estate planning.[53][54]


In 1962, O'Keeffe was elected to the fifty-member American Academy of Arts and Letters. In 1966, she was elected a Fellow of the American Academy of Arts and Sciences.[55] In 1977, President Gerald R. Ford presented O'Keeffe with the Presidential Medal of Freedom, the highest honor awarded to American civilians.[56] In 1985, she was awarded the National Medal of Arts by President Ronald Reagan.[29]


External video
Georgia O'Keeffe.jpg
Life and Artwork of Georgia O'Keeffe, the Georgia O'Keeffe Museum (11:00), C-SPAN[1]

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 1995 to perpetuate O'Keeffe's artistic legacy. These assets included a large body of her work, photographs, archival materials, and her Abiquiú house, library, and property. The Georgia O'Keeffe Home and Studio in Abiquiú was designated a National Historic Landmark in 1998 and is now owned by the Georgia O'Keeffe Museum.[citation needed]

In 1991, the PBS aired the American Playhouse production A Marriage: Georgia O'Keeffe and Alfred Stieglitz, starring Jane Alexander as O'Keeffe and Christopher Plummer as Alfred Stieglitz.[citation needed]

In 1996, the U.S. Postal Service issued a 32 cent stamp honoring O'Keeffe.[57] In 2013, on the 100th anniversary of the Armory Show, the USPS issued a stamp featuring O'Keeffe's Black Mesa Landscape, New Mexico/Out Back of Marie’s II, 1930 as part of their Modern Art in America series.[58]

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".[59]

Lifetime Television produced a biopic of Georgia O'Keeffe 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.[60][61] It premiered on September 19, 2009.[citation needed]

On 20 November 2014, O'Keeffe's 1932 painting Jimson Weed sold for $44,405,000, more than three times the previous world auction record for any female artist.[62]


  • O’Keeffe, Georgia (1976). Georgia O'Keeffe. New York: Viking Press. ISBN 978-0-670-33710-1. 
  • O'Keeffe, Georgia (1988). Some Memories of Drawings. Albuquerque, NM: University of New Mexico Press. ISBN 978-0-8263-1113-9. 
  • Giboire, Clive, ed. (1990). Lovingly, Georgia: The Complete Correspondence of Georgia O'Keeffe & Anita Pollitzer. New York: Simon & Schuster. ISBN 978-0-671-69236-0. 
  • Greenough, Sarah, ed. (2011). My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz. Volume One, 1915-1933 (Annotated ed.). New Haven, CT: Yale University Press. ISBN 978-0-300-16630-9. 

See also[edit]


  1. ^ a b "Life and Artwork of Georgia O'Keeffe". C-SPAN. January 9, 2013. Retrieved March 14, 2013. 
  2. ^ a b c d e f g h i j k l m n o p q r s t Editors (August 26, 2016). "Georgia O'Keeffe". Biography Channel. A&E Television Networks. Retrieved January 14, 2017. 
  3. ^ "Birth Record Details". Wisconsin Historical Society. Retrieved 2009-07-23. 
  4. ^ "Birthplace of Georgia O'Keeffe". Sun Prairie, WI. Archived from the original on July 29, 2016. 
  5. ^ Wisconsin Legislature. 2013-14 Wisconsin Statutes 2013-14 S.84.1021 Georgia O'Keeffe Memorial Highway.
  6. ^ Robinson, Roxana (1999), Georgia O'Keeffe: A Life, UPNE, p. 6, ISBN 0-87451-906-3 
  7. ^ a b Nancy Hopkins Reily (August 2007). Georgia O'keeffe, a Private Friendship: Walking the Sun Prairie Land. Sunstone Press. p. 54. ISBN 978-0-86534-451-8. 
  8. ^ a b c d e f g Roberts, Norma J., ed. (1988), The American Collections, Columbus Museum of Art, p. 76, ISBN 0-8109-1811-0 
  9. ^ Gerry Souter (12 January 2017). Georgia O'Keeffe. Parkstone International. pp. 34–35. ISBN 978-5-457-46766-8. 
  10. ^ Holland Cotter (January 5, 2017). "World War I — The Quick. The Dead. The Artists". New York Times. Retrieved January 16, 2017. 
  11. ^ Roxana Robinson; Georgia O'Keeffe (1989). Georgia O'Keeffe: A Life. UPNE. pp. 191–193. ISBN 978-0-87451-906-8. 
  12. ^ Kathaleen Roberts (November 20, 2016). "Never-before-exhibited O'Keeffe paintings show shift to abstraction". Albuquerque Journal. Retrieved January 14, 2017. 
  13. ^ a b c d e Amon Carter Museum of Western Art; Patricia A. Junker; Will Gillham (2001). An American Collection: Works from the Amon Carter Museum. Hudson Hills. p. 184. ISBN 978-1-55595-198-6. 
  14. ^ a b "How UVA shaped Georgia O'Keeffe". University of Virginia. November 10, 2016. Retrieved January 14, 2017. 
  15. ^ Zilczer, Judith (1999). "'Light Coming on the Plains:" Georgia O'Keeffe's Sunrise Series". Artibus et Historiae. 20 (40): 193–194. JSTOR 1483675. 
  16. ^ Zilczer, Judith (1999). "'Light Coming on the Plains:" Georgia O'Keeffe's Sunrise Series". Artibus et Historiae. 20 (40): 191–208. JSTOR 1483675. 
  17. ^ a b Sharyn Rohlfsen Udall (2000). Carr, O'Keeffe, Kahlo: Places of Their Own. Yale University Press. p. 114. ISBN 978-0-300-09186-1. 
  18. ^ Roxana Robinson (1989). Georgia O'Keeffe: A Life. University Press of New England. p. 193. ISBN 0-87451-906-3. 
  19. ^ a b Birmingham Museum of Art (2010). Birmingham Museum of Art : guide to the collection. [Birmingham, Ala]: Birmingham Museum of Art. p. 144. ISBN 978-1-904832-77-5. 
  20. ^ Liese Spencer (December 31, 2015). "From Georgia O'Keeffe to War and Peace: unmissable arts events in 2016". The Guardian. Retrieved January 13, 2017. 
  21. ^ Laura Cumming (April 7, 2012). "The 10 best flower paintings – in pictures". The Guardian. Retrieved January 13, 2017. 
  22. ^ Barbara Buhler Lynes; Jonathan Weinberg; Georgia O'Keeffe Museum (9 March 2011). Shared Intelligence: American Painting and the Photograph. Univ of California Press. p. 92. ISBN 978-0-520-26906-4. 
  23. ^ a b Georgia O'Keeffe Place Setting, Brooklyn Museum, retrieved June 5, 2015 .
  24. ^ a b "Georgia O'Keeffe (1887-1986): East River from the Thirtieth Story of the Shelton Hotel, 1928". New Britain Museum of American Art. Retrieved January 17, 2017. 
  25. ^ a b "Important Art by Georgia O'Keeffe: Radiator Building—Night, New York". The Art Story. Retrieved January 17, 2017. 
  26. ^ "Radiator Building—Night, New York". Crystal Bridges Museum of American Art. Retrieved January 17, 2017. 
  27. ^ "Georgia O'Keeffe: New York Street with Moon, 1925". Museo Thyssen-Bornemisz. Retrieved January 17, 2017. 
  28. ^ "The Shelton with Sunspots, N.Y., 1926". Art Institute of Chicago. Retrieved January 17, 2017. 
  29. ^ a b c d e f g Robert Torchia (September 29, 2016). "O'Keeffe, Georgia - Biography". National Gallery of Art. Retrieved January 14, 2017. 
  30. ^ Hunter Drohojowska-Philp (November 17, 2005). Full Bloom: The Art and Life of Georgia O'Keeffe. W. W. Norton. p. 282. ISBN 978-0-393-32741-0. 
  31. ^ Vivien Green Fryd (2003). Art and the Crisis of Marriage: Edward Hopper and Georgia O'Keeffe. University of Chicago Press. p. 164. ISBN 978-0-226-26654-1. 
  32. ^ a b c Maurer, Rachel. "The D. H. Lawrence Ranch". University of New Mexico. Archived from the original on 25 June 2009. Retrieved 15 September 2009. 
  33. ^ The Lawrence Tree | Wadsworth Athenaeum - Hartford, Connecticut
  34. ^ a b c d e f g "Rotating O'Keeffe exhibit". Fort Worth, Texas: National Cowgirl Museum and Hall of Fame. 2010. [permanent dead link]
  35. ^ Saville, Jennifer (1990), Georgia O'Keeffe: Paintings of Hawai'i, Honolulu: Honolulu Academy of Arts, p. 13 
  36. ^ Jennings, Patricia & Maria Ausherman, Georgia O'Keeffe’s Hawai’i, Koa Books, Kihei, Hawaii, 2011, p. 3
  37. ^ Papanikolas, Theresa, Georgia O'Keeffe and Ansel Adams, The Hawai'I Pictures, Honolulu Museum of Art, 2013
  38. ^ Severson, Don R. (2002), Finding Paradise: Island Art in Private Collections, University of Hawaii Press, p. 119 
  39. ^ a b Tony Perrottet (November 30, 2012), O’Keeffe’s Hawaii New York Times.
  40. ^ Severson 2002, p. 128.
  41. ^ Abrams, Dennis. O'Keeffe, Georgia. 2009. Georgia O'Keeffe. Infobase Publishing, p. 97
  42. ^ A similar remark is registered in "Her Story and Her Work" by Bill Long, 6/29/07.: "I painted it often enough thinking that, if I did so, God would give it to me."
  43. ^ a b Porter's photograph, Eroded Clay and Rock Flakes, Black Place, New Mexico, July 20, 1953, on, in the Amon Carter Museum Eliot Porter Collection Retrieved 16 June 2010
  44. ^ a b c "O'Keeffe - "the faraway" continued (history)". 2000. 
  45. ^ a b "Biography". Georgia O'Keeffe Museum. Archived from the original on November 15, 2012. Retrieved February 27, 2011. 
  46. ^ Benita Eisler. O'Keeffe and Stieglitz: An American Romance. New York: Doubleday, 1991.
  47. ^ Brennan, Marcia (2002). Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics. MIT Press. ISBN 0262523361. 
  48. ^ Lynes, Barbara (1989). O'Keeffe, Stieglitz and the Critics, 1916-1929. Ann Arbor, Michigan: UMI Research Press. pp. 55–56. ISBN 0-8357-1930-8. 
  49. ^ Kilian, Michael (August 1, 2002). "Santa Fe exhibit paints a different picture of O'Keeffe". Chicago Tribune. Retrieved 2010-10-10. ... 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 Abiquiú houses between 1955 and 1981. 
  50. ^ Zimmer, William (December 31, 2000). "ART; Exploring the Affinities Among Painting, Music and Dance". The New York Times. Retrieved 2010-10-10. O'Keeffe's prickly personality is legendary, but with Webb she displays the kind of quietness and calm she wanted to embody. 
  51. ^ Asbury, Edith Evans (March 7, 1986). "Obituary: Georgia O' Keeffe Dead at 98; Shaper of Modern Art in U.S.". The New York Times. Retrieved 2010-06-13. 
  52. ^ "Settlement Is Granted Over O'Keeffe Estate". The New York Times. Associated Press. July 2, 1987. Retrieved June 1, 2010. 
  53. ^ Anne Dingus. "Georgia O'Keeffe". Texas Monthly. Retrieved January 3, 2007. 
  54. ^ Vaughn W. Henry (May 10, 2004). "Establishing a Value is Important!". Planned Giving Design Center, LLC. Archived from the original on February 13, 2007. Retrieved January 3, 2007. 
  55. ^ "Book of Members, 1780-2010: Chapter O" (PDF). American Academy of Arts and Sciences. Retrieved 14 April 2011. 
  56. ^ The National First Ladies Library (November 16, 2010). Heroes of the Presidential Medal of Freedom (PDF). Canton Ohio. p. 3. Retrieved February 11, 2011. Georgia O'Keeffe (1887–1986)...Presidential Medal of Freedom received January 10, 1977 
  57. ^ "Stamp Series". United States Postal Service. Archived from the original on 2013-08-10. Retrieved Sep 2, 2013. 
  58. ^ "Modern Art in America 1913-1931, Forever". USPS. Retrieved 8 March 2015. 
  59. ^ Sterling J Nesbitt1, and Mark A Norell (May 7, 2006). "Extreme convergence in the body plans of an early suchian (Archosauria) and ornithomimid dinosaurs (Theropoda)". Proc Biol Sci. The Royal Society. 273 (1590): 1045–1048. doi:10.1098/rspb.2005.3426. PMC 1560254Freely accessible. PMID 16600879. [permanent dead link]
  60. ^ "Georgia O'Keeffe". Lifetime Television's. 
  61. ^ Georgia O'Keeffe [permanent dead link]
  62. ^ Sotheby's Auction results

Further reading[edit]

  • Eldredge, Charles C. (1991). Georgia O'Keeffe. New York: Harry N. Abrams, Inc. ISBN 978-0-8109-3657-7. 
  • Haskell, Barbara, ed. (2009). Georgia O'Keeffe: Abstraction. Whitney Museum of American Art. New Haven, CT: Yale University Press. ISBN 978-0-300-14817-6. 
  • Hogrefe, Jeffrey (1994). O'Keeffe, The Life of an American Legend. New York: Bantam. ISBN 978-0-553-56545-4. 
  • Lisle, Laurie (1986). Portrait of an Artist. New York: Washington Square Press. ISBN 978-0-671-60040-2. 
  • Lynes, Barbara Buhler (1999). Georgia O'Keeffe: Catalogue Raisonné. Washington, D.C.: National Gallery of Art. ISBN 978-0-300-08176-3. 
  • Lynes, Barbara Buhler; Poling-Kempes, Lesley; Turner, Frederick W. (2004). Georgia O'Keeffe and New Mexico: A Sense of Place (3rd ed.). Princeton, NJ: Princeton University Press. ISBN 978-0-691-11659-4. 
  • Lynes, Barbara Buhler (2007). Georgia O'Keeffe Museum Collections. Harry N. Abrams. ISBN 978-0-8109-0957-1. 
  • Lynes, Barbara Buhler; Phillips, Sandra S. (2008). Georgia O'Keeffe and Ansel Adams: Natural Affinities. Little, Brown and Company. ISBN 978-0-316-11832-3. 
  • Lynes, Barbara Buhler; Weinberg, Jonathan, eds. (2011). Shared Intelligence: American Painting and The Photograph. University of California Press. ISBN 978-0-520-26906-4. 
  • Lynes, Barbara Buhler (2012). Georgia O'Keeffe: Life & Work. Skira. ISBN 978-88-572-1232-6. 
  • Merrill, C. S. (2010). Weekends with O'Keeffe. Albuquerque, NM: University of New Mexico Press. ISBN 978-0-8263-4928-6. 
  • Messinger, Lisa Mintz (2001). Georgia O'Keeffe. London: Thames & Hudson. ISBN 0-500-20340-7. 
  • Montgomery, Elizabeth (1993). Georgia O'Keeffe. New York: Barnes & Noble. ISBN 978-0-88029-951-0. 
  • Orford, Emily-Jane Hills (2008). The Creative Spirit: Stories of 20th Century Artists. Ottawa: Baico Publishing. ISBN 978-1-897449-18-9. 
  • Patten, Christine Taylor; Cardona-Hine, Alvaro (1992). Miss O'Keeffe. Albuquerque, NM: University of New Mexico Press. ISBN 978-0826313225. 
  • Peters, Sarah W. (1991). Becoming O'Keeffe. New York: Abbeville Press. ISBN 978-1-55859-362-6. 

External links[edit]