What inspired Georgia OKeeffe to paint objects in close-up view?

American modernist artist (1887–1986)

Georgia O'Keeffe
O'Keeffe in 1918, photograph by Alfred Stieglitz
Born	Georgia Totto O'Keeffe (1887-11-xv)Nov fifteen, 1887 Sun Prairie, Wisconsin, U.Due south.
Died	March vi, 1986(1986-03-06) (aged 98) Santa Fe, New Mexico, U.Southward.
Didactics	School of the Art Institute of Chicago Columbia College Teachers College, Columbia Academy Academy of Virginia Art Students League of New York
Known for	Painting
Motion	American modernism, Precisionism
Spouse(s)	Alfred Stieglitz ​ ​ (chiliad. 1924; died )​
Family unit	Ida O'Keeffe (sister)
Awards	National Medal of Arts (1985) Presidential Medal of Freedom (1977) Edward MacDowell Medal (1972)

Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American modernist artist. She was known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been called the "Female parent of American modernism".^{[i] [2]}

In 1905, O'Keeffe began art training at the School of the Art Institute of Chicago^[3] then the Fine art Students League of New York. In 1908, unable to fund further instruction, she worked for two years as a commercial illustrator and then taught in Virginia, Texas, and South Carolina between 1911 and 1918. She studied art in the summers between 1912 and 1914 and was introduced to the principles and philosophies of Arthur Wesley Dow, who created works of art based upon personal fashion, design, and interpretation of subjects, rather than trying to copy or represent them. This acquired a major modify in the style she felt about and approached fine art, equally seen in the start stages of 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 full abstraction. Alfred Stieglitz, an art dealer and photographer, held an exhibit of her works in 1917.^[4] Over the side by side 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 equally an creative person. They developed a professional and personal human relationship that led to their marriage in 1924. O'Keeffe created many forms of abstruse art, including close-ups of flowers, such as the Red Canna paintings, that many establish to represent vulvas,^[5] though O'Keeffe consistently denied that intention.^[6] The imputation of the delineation of women'due south sexuality was likewise fueled by explicit and sensuous photographs of O'Keeffe that Stieglitz had taken and exhibited.

O'Keeffe and Stieglitz lived together in New York until 1929, when O'Keeffe began spending part of the yr in the Southwest, which served as inspiration for her paintings of New Mexico landscapes and images of animal skulls, such as Moo-cow's Skull: Ruddy, White, and Blue and Ram'south Head White Hollyhock and Little Hills. After Stieglitz'south decease, she lived in New United mexican states at Georgia O'Keeffe Domicile and Studio in Abiquiú until the last years of her life, when she lived in Santa Fe. In 2014, O'Keeffe'south 1932 painting Jimson Weed/White Bloom No. ane sold for $44,405,000, more than than three times the previous world auction record for any female person artist.^[seven] After her expiry, the Georgia O'Keeffe Museum was established in Santa Fe.

Early life [edit]

Georgia O'Keeffe was born on Nov 15, 1887,^{[2] [8]} in a farmhouse in the town of Dominicus Prairie, Wisconsin.^{[ix] [ten]} Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her begetter 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.^{[two] [11]}

O'Keeffe was the second of seven children.^[2] She attended Town Hall School in Dominicus Prairie.^[12] By historic period 10, she had decided to become an artist,^[thirteen] and with her sisters, Ida and Anita,^[14] she received art instruction from local watercolorist Sara Isle of mann. O'Keeffe attended loftier school at Sacred Heart Academy in Madison, Wisconsin, as a boarder betwixt 1901 and 1902. In late 1902, the O'Keeffes moved from Wisconsin to the close-knit neighborhood of Peacock Colina in Williamsburg, Virginia, where O'Keeffe's male parent started a business organization making rusticated cast physical block in anticipation of a demand for the cake in the Peninsula building trade, simply the demand never materialized.^[15] O'Keeffe stayed in Wisconsin with her aunt attention Madison Central High Schoolhouse^[sixteen] until joining her family in Virginia in 1903. She completed high school every bit a boarder at Chatham Episcopal Institute in Virginia (now Chatham Hall), graduating in 1905. At Chatham, she was a member of Kappa Delta sorority.^{[2] [12]}

O'Keeffe taught and headed the art department at West Texas State Normal College, watching over her youngest sibling, Claudia, at her female parent'due south request.^[17] In 1917, she visited her blood brother, Alexis, at a military machine camp in Texas earlier he shipped out for Europe during Earth War I. While there, she created the painting The Flag,^[18] which expressed her feet and depression about the state of war.^[xix]

Career [edit]

Education and early career [edit]

Georgia O'Keeffe, Untitled, 1908, Art Students League of New York collection

From 1905 to 1906, O'Keeffe was enrolled at the Schoolhouse of the Art Plant of Chicago, where she studied with John Vanderpoel and ranked at the top of her class.^{[2] [13]} As a effect of contracting typhoid fever, she had to take a twelvemonth off from her education.^[two] In 1907, she attended the Fine 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 nourish the League's outdoor summertime school in Lake George, New York.^[2] While in the New York Urban center, O'Keeffe visited galleries, such as 291, co-endemic by her future husband, photographer Alfred Stieglitz. The gallery promoted the work of advanced artists and photographers from the U.s.a. and Europe.^[two]

In 1908, O'Keeffe discovered 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 was not interested in a career equally a painter based on the mimetic tradition that had formed the basis of her art training.^[13] She took a job in Chicago as a commercial artist and worked in that location until 1910, when she returned to Virginia to recuperate from the measles^[twenty] and afterwards moved with her family to Charlottesville, Virginia.^[2] She did non paint for 4 years and said that the smell of turpentine made her ill.^[13] She began instruction art in 1911. One of her positions was at her sometime schoolhouse, Chatham Episcopal Institute, in Virginia.^{[2] [21]}

She took a summer art class in 1912 at the Academy of Virginia from Alon Bement, who was a Columbia University Teachers College faculty member. Under Bement, she learned of the innovative ideas of Arthur Wesley Dow, Bement'due south colleague. Dow's approach was influenced by principles of design and composition in Japanese art. She began to experiment with abstract compositions and develop a personal style that veered abroad from realism.^{[ii] [thirteen]} From 1912 to 1914, she taught fine art in the public schools in Amarillo in the Texas Panhandle, and was a pedagogy assistant to Bement during the summers.^[ii] She took classes at the University of Virginia for two more summers.^[22] She also took a course in the leap of 1914 at Teachers College of Columbia Academy with Dow, who further influenced her thinking about the process of making fine art.^[23] Her studies at the University of Virginia, based upon Dow's principles, were pivotal in O'Keeffe'southward development as an artist. Through her exploration and growth every bit an artist, she helped to plant the American modernism move.

She taught at Columbia College in Columbia, South Carolina in late 1915, where she completed a series of highly innovative charcoal abstractions^[13] based on her personal sensations.^[21] In early 1916, O'Keeffe was in New York at Teachers College, Columbia Academy. She mailed the charcoal drawings to a friend and former classmate at Teachers College, Anita Pollitzer, who took them to Alfred Stieglitz at his 291 gallery early on in 1916.^[24] 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 prove them. In April that year, Stieglitz exhibited ten of her drawings at 291.^{[ii] [13]}

Subsequently further course work at Columbia in early 1916 and summer teaching for Bement,^[2] she became the chair of the art department at West Texas State Normal College, in Canyon, Texas start in the autumn of 1916.^[25] She began a serial of watercolor paintings based upon the scenery and expansive views during her walks,^{[21] [26]} including vibrant paintings of Palo Duro Canyon.^[27] 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 near private sensations and feelings. Rather than sketching out a pattern before painting, she freely created designs. O'Keeffe connected to experiment until she believed she truly captured her feelings in the watercolor, Calorie-free Coming on the Plains No. I (1917).^[21] She "captured a monumental landscape in this simple configuration, fusing blue and green pigments in well-nigh indistinct tonal graduations that simulate the pulsating effect of lite on the horizon of the Texas Panhandle," according to author Sharyn Rohlfsen Udall.^{[21] [26]} Later her relationship with Alfred Stieglitz started, her watercolor paintings ended quickly. Stieglitz heavily encouraged her to quit because the use of watercolor was associated with amateur women artists.^[28]

New York [edit]

Stieglitz, 24 years older than O'Keeffe,^[28] provided financial support and arranged for a residence and place for her to paint in New York in 1918. They adult a shut personal relationship while he promoted her piece of work.^[2] She came to know the many early on American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen. Strand's photography, as well as that of Stieglitz and his many lensman friends, inspired O'Keeffe'due south piece of work. Also around this fourth dimension, O'Keeffe became sick during the 1918 flu pandemic.^[11]

O'Keeffe began creating simplified images of natural things, such as leaves, flowers, and rocks.^[29] Inspired by Precisionism, The Green Apple, completed in 1922, depicts her notion of simple, meaningful life.^[30] O'Keeffe said that yr, "it is only past selection, past elimination, and past emphasis that nosotros get at the real meaning of things."^[30] Bluish and Green Music expresses O'Keeffe's feelings nigh music through visual art, using bold and subtle colors.^[31]

Besides in 1922, journalist Paul Rosenfeld commented "[the] Essence of very womanhood permeates her pictures", citing her apply of color and shapes every bit metaphors for the female body.^[32] This same article as well describes her paintings in a sexual fashion.^[32]

O'Keeffe, about famous for her delineation of flowers, made about 200 flower paintings,^[33] which by the mid-1920s were large-calibration depictions of flowers, equally if seen through a magnifying lens, such as Oriental Poppies ^{[34] [35]} and several Ruby Canna paintings.^[36] She painted her offset large-scale flower painting, Petunia, No. 2, in 1924 and it was first exhibited in 1925.^[2] Making magnified depictions of objects created a sense of awe and emotional intensity.^[29] On November 20, 2014, O'Keeffe's Jimson Weed/White Flower No 1 (1932) sold for $44,405,000 in 2014 at auction to Walmart heiress Alice Walton, more than three times the previous world sale tape for whatsoever female person artist.^{[37] [38]}

Art historian Linda Nochlin interpreted Black Iris III (1926) equally a morphological metaphor for a vulva, but O'Keeffe rejected that interpretation, claiming they were simply pictures of flowers.^{[39] [40]}

After having moved into a 30th floor apartment in the Shelton Hotel in 1925,^[41] O'Keeffe began a series of paintings of the city skyscrapers and skyline.^[42] 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.^{[43] [44]} Other examples are New York Street with Moon (1925),^[45] The Shelton with Sunspots, N.Y. (1926),^[46] and Urban center Night (1926).^[ii] She made a cityscape, East River from the Thirtieth Story of the Shelton Hotel in 1928, a painting of her view of the East River and smoke-emitting factories in Queens.^[42] The side by side 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 piece of work.^[43]

In 1924, Stieglitz arranged a simultaneous exhibit of O'Keeffe'south works of fine art and his photographs at Anderson Galleries and arranged for other major exhibits.^[47] The Brooklyn Museum held a retrospective of her piece of work in 1927.^[24] In 1928, Stieglitz announced that half-dozen of her calla lily paintings sold to an bearding buyer in France for US$25,000, but in that location is no evidence that this transaction occurred the way Stieglitz reported.^{[ commendation needed ]} Every bit a result of the press attending, O'Keeffe's paintings sold at a higher cost from that signal onward.^{[48] [49]} By the late 1920s she was noted for her work depicting American subjects, peculiarly for the paintings of New York city skyscrapers and close-up paintings of flowers.^[47]

Taos [edit]

O'Keeffe traveled to New Mexico by 1929 with her friend Rebecca Strand and stayed in Taos with Mabel Dodge Luhan, who provided the women with studios.^[50] From her room she had a articulate view of the Taos Mountains likewise as the morada (meetinghouse) of the Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesús Nazareno aka the Penitentes.^[51] O'Keeffe went on many pack trips, exploring the rugged mountains and deserts of the region that summer and afterwards visited the nearby D. H. Lawrence Ranch,^[l] where she completed her at present famous oil painting, The Lawrence Tree, currently owned by the Wadsworth Athenaeum in Hartford, Connecticut.^[52] 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 building, every bit had many artists, and her painting of a fragment of it silhouetted against the sky captured it from a unique perspective.^{[53] [54]}

New Mexico and New York [edit]

Georgia O'Keeffe, Ram's Caput White Hollyhock and Piffling Hills, 1935, The Brooklyn Museum

O'Keeffe and so spent part of almost every year working in New Mexico. She nerveless rocks and bones from the desert floor and made them and the distinctive architectural and landscape forms of the surface area subjects in her piece of work.^[29] Known as a loner, O'Keeffe oftentimes explored the land she loved in her Ford Model A, which she purchased and learned to drive in 1929. She frequently talked about her fondness for Ghost Ranch and Northern New United mexican states, as in 1943, when she explained, "Such a cute, untouched lonely feeling place, such a fine function of what I call the 'Faraway'. It is a place I have painted before ... even now I must practice it again."^[54]

O'Keeffe did not piece of work from late 1932 until about the mid-1930s ^[54] as she endured various nervous breakdowns and was admitted to a psychiatric hospital.^[28] These nervous breakdowns were the result of O'Keeffe learning of her married man'south affair.^[28] She was a popular artist, receiving commissions while her works were existence exhibited in New York and other places.^[55] In 1936, she completed what would become one of her best-known paintings, Summertime Days. It depicts a desert scene with a deer skull with vibrant wildflowers. Resembling Ram'southward Head with Hollyhock, it depicted the skull floating above the horizon.^{[55] [56]}

Pineapple Bud, 1939, oil on canvas

In 1938, the advertising agency Due north. W. Ayer & Son approached O'Keeffe about creating two paintings for the Hawaiian Pineapple Company (now Dole Food Visitor) to use in advertisement.^{[57] [58] [59]} Other artists who produced paintings of Hawaii for the Hawaiian Pineapple Company'south advertisement include Lloyd Sexton, Jr., Millard Sheets, Yasuo Kuniyoshi, Isamu Noguchi, and Miguel Covarrubias.^[threescore] The offer came at a critical time in O'Keeffe'south life: she was 51, and her career seemed to exist stalling (critics were calling her focus on New Mexico limited, and branding her desert images "a kind of mass production").^[61] She arrived in Honolulu February 8, 1939, aboard the SS Lurline and spent nine weeks in Oahu, Maui, Kauai, and the isle of Hawaii. By far the most productive and vivid period was on Maui, where she was given complete freedom to explore and paint.^{[61] [62]} 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.^[63]

O'Keeffe'south "White Identify", the Plaza Blanca cliffs and badlands most Abiquiú

During the 1940s, O'Keeffe had two one-adult female retrospectives, the showtime at the Art Institute of Chicago (1943).^[29] Her 2nd was in 1946, when she was the beginning adult female artist to have a retrospective at the Museum of Modern Art (MoMA) in Manhattan.^[33] Whitney Museum of American Art began an effort to create the offset catalogue of her piece of work in the mid-1940s.^[55]

In the 1940s, O'Keeffe made an all-encompassing series of paintings of what is chosen the "Black Place", nearly 150 miles (240 km) w of her Ghost Ranch house.^[64] O'Keeffe said that the Black Place resembled "a mile of elephants with gray hills and white sand at their feet."^[54] She made paintings of the "White Place", a white rock formation located near her Abiquiú business firm.^[65]

Abiquiú [edit]

External images
Heaven In a higher place the Clouds Four, 1965, oil on canvas, The Art Institute of Chicago.
Waterfall – End of Road – 'Iao Valley, 1939, oil on canvas, Honolulu Museum of Fine art.

In 1946, she began making the architectural forms of her Abiquiú house—patio wall and door—subjects in her work.^[66] Another distinctive painting was Ladder to the Moon, 1958.^[67] O'Keeffe produced a series of cloudscape art, such equally Sky above the Clouds in the mid-1960s that were inspired by her views from plane windows.^[29]

Worcester Fine art Museum held a retrospective of her work in 1960^[24] and ten years after, the Whitney Museum of American Fine art mounted the Georgia O'Keeffe Retrospective Exhibition.^[47]

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.^[68] In the 1970s, she made a series of works in watercolor.^[69] Her autobiography, Georgia O'Keeffe, published in 1976 was a all-time seller.^[47]

Judy Chicago gave O'Keeffe a prominent identify in her The Dinner Political party (1979) in recognition of what many prominent feminist artists considered groundbreaking introduction of sensual and feminist imagery in her works of art.^[seventy] Although feminists celebrated O'Keeffe as the originator of "female iconography",^[71] O'Keeffe refused to bring together the feminist art motility or cooperate with any all-women projects.^[72] She disliked being called a "woman creative person" and wanted to be considered an "creative person."^[73]

She continued working in pencil and charcoal until 1984.^[68]

O'Keeffe's Flowers as Vulvas and Criticism [edit]

O'Keeffe's lotus paintings may have deeper ties to vulvar imagery and symbolism. In Egyptian mythology, lotus flowers are a symbol of the womb, and in Indian mythology, they are straight symbols for vulvas.^[74]

Art dealer Samuel Kootz was one of O'Keeffe'south critics who although stated she was "the only prominent woman artist", had contrasting opinions^[75]. Kootz stated that "assertion of sex can merely impede the talents of an artist, for an act of disobedience, of grievance, in which the consciousness of these qualities retards the natural assertions of the painter"^[75]. He insisted that there had to be a phallic meaning behind her unique artwork. All the same, O'Keeffe stood her ground and for fifty years maintained that there was no connectedness between vulvas and her artwork.^[75]

Firing back to some of the criticism, O'Keeffe stated "When people read erotic symbols into my paintings, they're really talking about their own affairs."^[76] She refuted this by saying projection was the reason behind other artists' attacks on her piece of work. O'Keeffe was also seen as a revolutionary feminist; even so, the artist rejected these notions stating "femaleness is irrelevant" and that "it has nothing to do with art making or accomplishment."^[77]

Awards and honors [edit]

In 1938, O'Keeffe received an honorary degree of "Doctor of Fine Arts" from The College of William & Mary.^[78] Later, O'Keeffe was elected to the American Academy of Arts and Messages^[24] and in 1966 was elected a Fellow of the American Academy of Arts and Sciences.^[79] Amidst her awards and honors, O'Keeffe received the M. Carey Thomas Award at Bryn Mawr College in 1971 and ii years later received an honorary degree from Harvard Academy.^[24]

In 1977, President Gerald Ford presented O'Keeffe with the Presidential Medal of Liberty, the highest honor awarded to American civilians.^[80] In 1985, she was awarded the National Medal of Arts by President Ronald Reagan.^[47] In 1993, she was inducted into the National Women's Hall of Fame.^[81]

Personal life and death [edit]

Marriage [edit]

In June 1918, O'Keeffe accustomed Stieglitz's invitation to move to New York from Texas afterward he promised he would provide her with a tranquillity studio where she could paint. Inside a month he took the outset of many nude photographs of her at his family's apartment while his wife was away. His wife returned home one time while their session was withal in progress. She had suspected for a while that something was going on between the 2, and told him to stop seeing O'Keefe or go out. Stieglitz left home immediately and found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks. By the end of the month they were in the aforementioned bed together, and by mid-August when they visited Oaklawn, the Stieglitz family summer estate in Lake George in upstate New York, "they were like two teenagers in love. Several times a day they would run upwardly the stairs to their bedroom, so eager to brand love that they would start taking their clothes off every bit they ran."

In February 1921, Stieglitz's photographs of O'Keeffe were included in a retrospective exhibition at the Anderson Galleries. Stieglitz started photographing O'Keeffe when she visited him in New York City to encounter her 1917 exhibition, and continued taking photographs, many of which were in the nude. Information technology created a public sensation. When he retired from photography in 1937, he had made more than 350 portraits and more 200 nude photos of her.^{[29] [82]} In 1978, she wrote virtually 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 equally if in my ane life I have lived many lives."^[83]

Owing to the legal delays acquired by Stieglitz's starting time married woman and her family, it would take six years before he obtained a divorce. In 1924, O'Keeffe and Stieglitz got married.^[47] For the balance of their lives together, their relationship was, "a collusion....a system of deals and trade-offs, tacitly agreed to and carried out, for the almost part, without the exchange of a give-and-take. Preferring avoidance to confrontation on most issues, O'Keeffe was the main agent of collusion in their union," according to biographer Benita Eisler.^[84] They lived primarily in New York City, but spent their summers at his father's family estate, Oaklawn, in Lake George in upstate New York.^[47]

Mental wellness [edit]

O'Keeffe's mental health was delicate. In 1928, Stieglitz began a long-term affair with Dorothy Norman, who was also married, and O'Keeffe lost a project to create a mural for Radio Metropolis Music Hall. She was hospitalized for depression.^[29] At the proffer of Maria Chabot and Mabel Dodge Luhan, O'Keeffe began to spend the summers painting in New Mexico in 1929.^[47] She traveled by train with her friend the painter Rebecca Strand, Paul Strand'south wife, to Taos, where they lived with their patron who provided them with studios.^[50]

Hospitalization [edit]

In 1933, O'Keeffe was hospitalized for two months afterwards suffering a nervous breakdown, largely due to Stieglitz's affair with Dorothy Norman.^[85] She did not paint once more until January 1934. In 1933 and 1934, O'Keeffe recuperated in Bermuda and returned to New Mexico in 1934. In August 1934, she moved to Ghost Ranch, north of Abiquiú. In 1940, she moved into a house on the ranch property. The varicolored cliffs surrounding the ranch inspired some of her virtually famous landscapes.^[54] Among guests to visit her at the ranch over the years were Charles and Anne Lindbergh, vocalizer-songwriter Joni Mitchell, poet Allen Ginsberg, and photographer Ansel Adams.^[86] She traveled and camped at "Black Place" oftentimes with her friend, Maria Chabot, and subsequently with Eliot Porter.^{[54] [64]}

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 plenty, I could have it"^{[87] [88]}

Painting materials as displayed at the O'Keeffe Museum in Santa Fe, NM

New kickoff [edit]

In 1945, O'Keeffe bought a 2d business firm, an abandoned hacienda in Abiquiú, which she renovated into a abode and studio.^[89] Before long after O'Keeffe arrived for the summer in New United mexican states in 1946, Stieglitz suffered a cerebral thrombosis (stroke). She immediately flew to New York to be with him. He died on July xiii, 1946. She buried his ashes at Lake George.^[90] She spent the adjacent three years mostly in New York settling his estate,^[29] and moved permanently to New Mexico in 1949, spending time at both Ghost Ranch and the Abiquiú house that she made into her studio.^{[29] [47]}

Todd Webb, a lensman she met in the 1940s, moved to New United mexican states in 1961. He often made photographs of her, as did numerous other important American photographers, who consistently presented O'Keeffe as a "loner, a astringent figure and self-fabricated person."^[91] While O'Keeffe was known to have a "prickly personality," Webb's photographs portray her with a kind of "quietness and at-home" suggesting a relaxed friendship, and revealing new contours of O'Keeffe'southward grapheme.^[92]

Travels [edit]

O'Keeffe enjoyed traveling to Europe, and around the world, beginning in the 1950s. Several times she took rafting trips downward the Colorado River,^[24] including a trip down the Glen Coulee, Utah, area in 1961 with Webb and photographer Eliot Porter.^[54]

Career cease and death [edit]

In 1973, O'Keeffe hired John Bruce "Juan" Hamilton as a alive-in banana and then a caretaker. Hamilton was a potter, recently divorced and bankrupt. This concluding years companion was 58 years her junior.^[93] Hamilton taught O'Keeffe to work with clay, encouraged her to resume painting despite her deteriorating eyesight, and helped her write her autobiography. He worked for her for 13 years.^[29] 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.^[94] Her body was cremated and her ashes were scattered, as she wished, on the country around Ghost Ranch.^[95]

Estate settlement [edit]

Following O'Keeffe's death, her family contested her will because codicils added to it in the 1980s had left virtually of her $65 million manor to Hamilton. The case was ultimately settled out of court in July 1987.^{[95] [96]} The case became a famous precedent in estate planning.^{[97] [98]}

Paintings [edit]

• 

  O'Keeffe, Untitled – vase of flowers, 1903–1905, watercolor on newspaper, Georgia O'Keeffe Museum

• 

  O'Keeffe, Drawing No. two – Special, 1915, charcoal on laid paper, 23.half dozen by 18.2 inches (lx cm × 46.3 cm), National Gallery of Fine art

• 

  O'Keeffe, Bluish #1, 1916, watercolor and graphite on paper, Brooklyn Museum

• 

  O'Keeffe, Sunrise, 1916, watercolor on paper

• 

  O'Keeffe, Series 1, No. 8, 1918, oil-painting on canvas, 20.0 by xvi.0 inches (50.8 cm × 40.6 cm), Lenbachhaus, Munich

• 

  O'Keeffe, A Storm, 1922, pastel on paper, mounted on analogy board, 18.iii past 24.4 inches (46.4 cm × 61.9 cm) Metropolitan Museum of Art

Legacy [edit]

External video
Life and Artwork of Georgia O'Keeffe, the Georgia O'Keeffe Museum (eleven:00), C-Span[one]

O'Keeffe was a legend showtime in the 1920s, known as much for her independent spirit and female office model every bit for her dramatic and innovative works of fine art.^[95] Nancy and Jules Heller said, "The most remarkable matter about O'Keeffe was the brazenness and uniqueness of her early on piece of work." At that time, fifty-fifty in Europe, there were few artists exploring abstraction. Fifty-fifty though her works may show elements of unlike modernist movements, such equally Surrealism and Precisionism, her work is uniquely her ain mode.^[99] She received unprecedented credence equally a woman creative person from the fine art globe due to her powerful graphic images and within a decade of moving to New York City, she was the highest-paid American woman creative person.^[100] She was known for a distinctive mode in all aspects of her life.^[101] O'Keeffe was also known for her relationship with Stieglitz, in which she provided some insight in her autobiography.^[95] The Georgia O'Keeffe Museum says that she was 1 of the first American artists to exercise pure abstraction.^[two]

Mary Beth Edelson's Some Living American Women Artists / Concluding Supper (1972) appropriated Leonardo da Vinci's The Terminal Supper, with the heads of notable women artists collaged over the heads of Christ and his apostles. John the Campaigner's head was replaced with Nancy Graves, and Christ'south with Georgia O'Keeffe. This image, addressing the role of religious and fine art historical iconography in the subordination of women, became "one of the well-nigh iconic images of the feminist fine art movement."^{[102] [103]}

A substantial part of her manor's assets were transferred to the Georgia O'Keeffe Foundation, a nonprofit. The Georgia O'Keeffe Museum opened in Santa Iron in 1997.^[95] The assets included a large body of her piece of work, photographs, archival materials, and her Abiquiú firm, library, and holding. 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.^[89]

In 1996, the U.Due south. Postal service issued a 32-cent postage honoring O'Keeffe.^[104] In 2013, on the 100th anniversary of the Armory Show, the USPS issued a stamp featuring O'Keeffe'due south Black Mesa Landscape, New Mexico/Out Back of Marie's II, 1930 equally part of their Mod Art in America serial.^[105]

A fossilized species of archosaur was named Effigia okeeffeae ("O'Keeffe'south 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 information technology was discovered".^[106]

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.^[22]

O'Keeffe holds the tape ($44.iv meg in 2014) for the highest price paid for a painting past a adult female.^[107]

In 1991, PBS aired the American Playhouse product A Marriage: Georgia O'Keeffe and Alfred Stieglitz, starring Jane Alexander as O'Keeffe and Christopher Plummer equally Alfred Stieglitz.^[108]

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'due south brother Lee, and Tyne Daly as Mabel Contrivance Luhan. It premiered on September 19, 2009.^{[109] [110]}

Publications [edit]

• O'Keeffe, Georgia (1976). Georgia O'Keeffe. New York: Viking Press. ISBN978-0-670-33710-1.
• O'Keeffe, Georgia (1988). Some Memories of Drawings. Albuquerque, NM: University of New Mexico Press. ISBN978-0-8263-1113-9.
• Giboire, Clive, ed. (1990). Lovingly, Georgia: The Complete Correspondence of Georgia O'Keeffe & Anita Pollitzer . New York: Simon & Schuster. ISBN978-0-671-69236-0.
• O'Keeffe, Georgia (1993). Georgia O'Keeffe : American and modern. New Haven: Yale University. ISBN978-0-300-05581-8.
• Greenough, Sarah, ed. (2011). My Faraway 1: Selected Messages of Georgia O'Keeffe and Alfred Stieglitz. Vol. One, 1915–1933 (Annotated ed.). New Oasis, CT: Yale Academy Press. ISBN978-0-300-16630-9.
• Buhler Lynes, Barbara (2012). Georgia O'Keeffe and Her Houses: Ghost Ranch and Abiquiu. Harry N. Abrams. ISBN978-1-4197-0394-ii.
• Winter, Jeanette (1998). My Name is Georgia: A Portrait. San Diego, New York, London: First Voyager Books. ISBN0-15-201649-X.

References [edit]

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Further reading [edit]

• Eldredge, Charles C. (1991). Georgia O'Keeffe . New York: Harry N. Abrams, Inc. ISBN978-0-8109-3657-seven.
• Haskell, Barbara, ed. (2009). Georgia O'Keeffe: Brainchild. Whitney Museum of American Art. New Oasis, CT: Yale University Press. ISBN978-0-300-14817-6.
• Hogrefe, Jeffrey (1994). O'Keeffe, The Life of an American Legend. New York: Bantam. ISBN978-0-553-56545-iv.
• Lisle, Laurie (1986). Portrait of an Creative person. New York: Washington Square Press. ISBN978-0-671-60040-two.
• Lynes, Barbara Buhler (1999). Georgia O'Keeffe: Catalogue Raisonné. Washington, D.C.: National Gallery of Art. ISBN978-0-300-08176-3.
• Lynes, Barbara Buhler; Poling-Kempes, Lesley; Turner, Frederick W. (2004). Georgia O'Keeffe and New United mexican states: A Sense of Place (3rd ed.). Princeton, NJ: Princeton University Press. ISBN978-0-691-11659-4.
• Lynes, Barbara Buhler (2007). Georgia O'Keeffe Museum Collections. Harry N. Abrams. ISBN978-0-8109-0957-one.
• Lynes, Barbara Buhler; Phillips, Sandra S. (2008). Georgia O'Keeffe and Ansel Adams: Natural Affinities. Little, Brown and Company. ISBN978-0-316-11832-3.
• Lynes, Barbara Buhler; Weinberg, Jonathan, eds. (2011). Shared Intelligence: American Painting and The Photograph. Academy of California Printing. ISBN978-0-520-26906-iv.
• Lynes, Barbara Buhler (2012). Georgia O'Keeffe: Life & Work. Skira. ISBN978-88-572-1232-6.
• Merrill, C. Southward. (2010). Weekends with O'Keeffe. Albuquerque, NM: University of New United mexican states Press. ISBN978-0-8263-4928-6.
• Messinger, Lisa Mintz (2001). Georgia O'Keeffe. London: Thames & Hudson. ISBN0-500-20340-seven.
• Montgomery, Elizabeth (1993). Georgia O'Keeffe. New York: Barnes & Noble. ISBN978-0-88029-951-0.
• Orford, Emily-Jane Hills (2008). The Creative Spirit: Stories of 20th Century Artists. Ottawa: Baico Publishing. ISBN978-1-897449-xviii-9.
• Patten, Christine Taylor; Cardona-Hine, Alvaro (1992). Miss O'Keeffe. Albuquerque, NM: University of New Mexico Press. ISBN978-0-8263-1322-5.
• Peters, Sarah Due west. (1991). Condign O'Keeffe. New York: Abbeville Press. ISBN978-1-55859-362-vi.

External links [edit]

• Georgia O'Keeffe Museum Collections Online
• Georgia O'Keeffe at the Museum of Modern Fine art
• Alfred Stieglitz/Georgia O'Keeffe Annal at the Beinecke Rare Volume and Manuscript Library at Yale University
• "O'Keeffe!", a solo actor play by Lucinda McDermott, Playscripts, Inc.
• Works by or near Georgia O'Keeffe in libraries (WorldCat catalog)
• Works by Georgia O'Keeffe at Open up Library
• Georgia O'Keeffe, Archives of American Fine art, Smithsonian Institution

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Source: https://en.wikipedia.org/wiki/Georgia_O%27Keeffe

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