banner



Home  ›  April Showers Edith Wharton Summary

April Showers Edith Wharton Summary

Written By Tuesday, October 25, 2022 Add Comment Edit

American modernist artist (1887–1986)

Georgia O'Keeffe
O'Keeffe-(hands).jpg

O'Keeffe in 1918, photograph by Alfred Stieglitz
Born

Georgia Totto O'Keeffe


(1887-11-15)November 15, 1887

Sun Prairie, Wisconsin, U.S.
Died March 6, 1986(1986-03-06) (aged 98)

Santa Fe, New Mexico, U.S.
Didactics Schoolhouse of the Art Institute of Chicago
Columbia College
Teachers College, Columbia University
University of Virginia
Art Students League of New York
Known for Painting
Motion American modernism, Precisionism
Spouse

Alfred Stieglitz

​

​

(chiliad. 1924; died )​
Family Ida O'Keeffe (sis)
Awards National Medal of Arts (1985)
Presidential Medal of Liberty (1977)
Edward MacDowell Medal (1972)

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

In 1905, O'Keeffe began art training at the Schoolhouse of the Art Institute of Chicago[3] and then the Art Students League of New York. In 1908, unable to fund further education, she worked for ii years as a commercial illustrator 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 manner, design, and interpretation of subjects, rather than trying to re-create or represent them. This caused a major alter in the way she felt nearly and approached art, as seen in the offset 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 total abstraction. Alfred Stieglitz, an art dealer and photographer, held an exhibit of her works in 1917.[iv] Over the next couple of years, she taught and continued her studies at the Teachers College, Columbia Academy.

She moved to New York in 1918 at Stieglitz's request and began working seriously as an artist. They developed a professional person and personal human relationship that led to their marriage in 1924. O'Keeffe created many forms of abstract art, including close-ups of flowers, such every bit the Red Canna paintings, that many establish to represent vulvas,[5] though O'Keeffe consistently denied that intention.[vi] The imputation of the depiction of women's sexuality was as well fueled past 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 year in the Southwest, which served as inspiration for her paintings of New United mexican states landscapes and images of creature skulls, such every bit Cow'south Skull: Red, White, and Blue and Ram'due south Head White Hollyhock and Lilliputian Hills. Later Stieglitz'southward death, she lived in New United mexican states at Georgia O'Keeffe Home and Studio in Abiquiú until the final years of her life, when she lived in Santa Fe. In 2014, O'Keeffe'southward 1932 painting Jimson Weed/White Flower No. 1 sold for $44,405,000, more than 3 times the previous world auction record for whatsoever female artist.[vii] Subsequently her death, the Georgia O'Keeffe Museum was established in Santa Fe.

Early life [edit]

Georgia O'Keeffe was built-in on November 15, 1887,[2] [eight] in a farmhouse in the town of Sun Prairie, Wisconsin.[ix] [x] Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her male parent was of Irish descent. Her maternal gramps, George Victor Totto, for whom O'Keeffe was named, was a Hungarian count who came to the United States in 1848.[2] [11]

O'Keeffe was the second of seven children.[2] She attended Boondocks Hall School in Lord's day Prairie.[12] By age ten, she had decided to become an artist,[xiii] and with her sisters, Ida and Anita,[14] she received art teaching from local watercolorist Sara Mann. O'Keeffe attended high school at Sacred Centre Academy in Madison, Wisconsin, equally a boarder between 1901 and 1902. In late 1902, the O'Keeffes moved from Wisconsin to the shut-knit neighborhood of Peacock Hill in Williamsburg, Virginia, where O'Keeffe's father started a business making rusticated bandage concrete block in anticipation of a demand for the block in the Peninsula building merchandise, just the demand never materialized.[15] O'Keeffe stayed in Wisconsin with her aunt attention Madison Fundamental Loftier School[16] until joining her family unit in Virginia in 1903. She completed high school as a boarder at Chatham Episcopal Establish in Virginia (at present Chatham Hall), graduating in 1905. At Chatham, she was a fellow member of Kappa Delta sorority.[2] [12]

O'Keeffe taught and headed the art section at West Texas State Normal College, watching over her youngest sibling, Claudia, at her female parent'due south asking.[17] In 1917, she visited her blood brother, Alexis, at a military camp in Texas before he shipped out for Europe during World State of war I. While there, she created the painting The Flag,[18] which expressed her anxiety and depression almost the war.[19]

Career [edit]

Education and early on 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 Fine art Plant of Chicago, where she studied with John Vanderpoel and ranked at the top of her course.[2] [13] As a outcome of contracting typhoid fever, she had to accept a yr off from her education.[2] In 1907, she attended the Art Students League in New York City, where she studied under William Merritt Hunt, Kenyon Cox, and F. Luis Mora.[2] In 1908, she won the League's William Merritt Chase nonetheless-life prize for her oil painting Dead Rabbit with Copper Pot. Her prize was a scholarship to nourish the League'due south outdoor summer school in Lake George, New York.[2] While in the New York City, O'Keeffe visited galleries, such as 291, co-owned past her future husband, photographer Alfred Stieglitz. The gallery promoted the work of avant-garde artists and photographers from the United states of america and Europe.[2]

In 1908, O'Keeffe discovered that she would non 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 as a painter based on the mimetic tradition that had formed the ground of her fine art training.[xiii] She took a job in Chicago equally a commercial artist and worked at that place until 1910, when she returned to Virginia to recuperate from the measles[20] and later moved with her family to Charlottesville, Virginia.[ii] She did not pigment for 4 years and said that the odor of turpentine made her ill.[13] She began teaching art in 1911. One of her positions was at her former schoolhouse, Chatham Episcopal Establish, in Virginia.[2] [21]

She took a summer art class in 1912 at the University 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'south arroyo was influenced by principles of pattern and limerick in Japanese art. She began to experiment with abstract compositions and develop a personal manner that veered abroad from realism.[2] [13] From 1912 to 1914, she taught art in the public schools in Amarillo in the Texas Panhandle, and was a didactics assistant to Bement during the summers.[two] She took classes at the Academy of Virginia for two more summers.[22] She also took a grade in the spring of 1914 at Teachers College of Columbia University with Dow, who further influenced her thinking virtually the process of making art.[23] 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 institute the American modernism movement.

She taught at Columbia College in Columbia, South Carolina in late 1915, where she completed a series of highly innovative charcoal abstractions[thirteen] based on her personal sensations.[21] In early 1916, O'Keeffe was in New York at Teachers College, Columbia University. She mailed the charcoal drawings to a friend and former classmate at Teachers Higher, Anita Pollitzer, who took them to Alfred Stieglitz at his 291 gallery early in 1916.[24] Stieglitz constitute them to be the "purest, finest, sincerest things that had entered 291 in a long while", and said that he would like to evidence them. In April that year, Stieglitz exhibited ten of her drawings at 291.[ii] [13]

Later on further form work at Columbia in early 1916 and summer teaching for Bement,[two] she became the chair of the art department at West Texas State Normal Higher, in Coulee, Texas beginning in the fall of 1916.[25] She began a series 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 do she began in South Carolina, O'Keeffe painted to express her most private sensations and feelings. Rather than sketching out a blueprint 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).[21] She "captured a monumental landscape in this simple configuration, fusing bluish and green pigments in near indistinct tonal graduations that simulate the pulsating effect of calorie-free on the horizon of the Texas Panhandle," according to author Sharyn Rohlfsen Udall.[21] [26] Later on her relationship with Alfred Stieglitz started, her watercolor paintings ended chop-chop. 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 bundled for a residence and place for her to paint in New York in 1918. They adult a close personal relationship while he promoted her work.[2] She came to know the many early American modernists who were part of Stieglitz'southward circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen. Strand's photography, every bit well equally that of Stieglitz and his many lensman friends, inspired O'Keeffe's piece of work. Too effectually this time, O'Keeffe became sick during the 1918 influenza pandemic.[xi]

O'Keeffe began creating simplified images of natural things, such equally leaves, flowers, and rocks.[29] Inspired by Precisionism, The Green Apple, completed in 1922, depicts her notion of uncomplicated, meaningful life.[30] O'Keeffe said that twelvemonth, "information technology is simply past selection, past emptying, and by emphasis that nosotros become at the real meaning of things."[30] Bluish and Green Music expresses O'Keeffe'southward feelings about music through visual art, using bold and subtle colors.[31]

Also in 1922, announcer Paul Rosenfeld commented "[the] Essence of very womanhood permeates her pictures", citing her use of color and shapes as metaphors for the female body.[32] This aforementioned commodity besides describes her paintings in a sexual fashion.[32]

O'Keeffe, about famous for her depiction of flowers, made about 200 flower paintings,[33] which by the mid-1920s were large-scale depictions of flowers, as if seen through a magnifying lens, such equally Oriental Poppies [34] [35] and several Red Canna paintings.[36] She painted her beginning large-calibration flower painting, Petunia, No. ii, in 1924 and information technology was outset 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 Blossom No 1 (1932) sold for $44,405,000 in 2014 at auction to Walmart heiress Alice Walton, more than than three times the previous earth sale tape for any female artist.[37] [38]

Fine art historian Linda Nochlin interpreted Black Iris Iii (1926) as a morphological metaphor for a vulva, but O'Keeffe rejected that interpretation, claiming they were merely 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] 1 of her about 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 City 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 next year she made her last New York City skyline and skyscraper paintings and traveled to New United mexican states, which became a source of inspiration for her work.[43]

In 1924, Stieglitz arranged a simultaneous showroom 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 work in 1927.[24] In 1928, Stieglitz announced that six of her calla lily paintings sold to an anonymous heir-apparent in France for US$25,000, simply at that place is no prove that this transaction occurred the way Stieglitz reported.[ citation needed ] As a issue of the press attention, O'Keeffe'due south paintings sold at a higher price from that point onward.[48] [49] By the late 1920s she was noted for her piece of work depicting American subjects, particularly for the paintings of New York city skyscrapers and close-upwardly paintings of flowers.[47]

Taos [edit]

O'Keeffe traveled to New United mexican states by 1929 with her friend Rebecca Strand and stayed in Taos with Mabel Contrivance Luhan, who provided the women with studios.[50] From her room she had a clear view of the Taos Mountains also 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 later visited the nearby D. H. Lawrence Ranch,[50] where she completed her now famous oil painting, The Lawrence Tree, currently owned by the Wadsworth Archives 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, as had many artists, and her painting of a fragment of it silhouetted against the heaven captured it from a unique perspective.[53] [54]

New United mexican states and New York [edit]

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

O'Keeffe then spent office of nearly every yr working in New Mexico. She nerveless rocks and bones from the desert floor and fabricated them and the distinctive architectural and landscape forms of the surface area subjects in her work.[29] Known as a loner, O'Keeffe oft explored the state she loved in her Ford Model A, which she purchased and learned to bulldoze in 1929. She often talked about her fondness for Ghost Ranch and Northern New United mexican states, as in 1943, when she explained, "Such a cute, untouched lone 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."[54]

O'Keeffe did not work from late 1932 until about the mid-1930s [54] equally 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 hubby's affair.[28] She was a popular creative person, receiving commissions while her works were being exhibited in New York and other places.[55] In 1936, she completed what would become one of her all-time-known paintings, Summertime Days. It depicts a desert scene with a deer skull with vibrant wildflowers. Resembling Ram's Head with Hollyhock, it depicted the skull floating above the horizon.[55] [56]

Pineapple Bud, 1939, oil on canvas

In 1938, the ad agency North. Due west. Ayer & Son approached O'Keeffe near creating two paintings for the Hawaiian Pineapple Company (now Dole Food Company) to utilise in advertising.[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.[lx] The offer came at a disquisitional time in O'Keeffe's 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 9 weeks in Oahu, Maui, Kauai, and the island of Hawaii. By far the most productive and bright menstruum was on Maui, where she was given consummate 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. Notwithstanding, she did non paint the requested pineapple until the Hawaiian Pineapple Company sent a constitute to her New York studio.[63]

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

During the 1940s, O'Keeffe had two one-adult female retrospectives, the first at the Fine art Institute of Chicago (1943).[29] Her second was in 1946, when she was the first woman artist to have a retrospective at the Museum of Modernistic Art (MoMA) in Manhattan.[33] Whitney Museum of American Art began an try to create the offset catalogue of her piece of work in the mid-1940s.[55]

In the 1940s, O'Keeffe made an extensive series of paintings of what is called the "Black Place", about 150 miles (240 km) west of her Ghost Ranch house.[64] O'Keeffe said that the Black Place resembled "a mile of elephants with greyness hills and white sand at their feet."[54] She made paintings of the "White Identify", a white rock formation located almost her Abiquiú firm.[65]

Abiquiú [edit]

External images
image icon Heaven Above the Clouds 4, 1965, oil on canvas, The Fine art Institute of Chicago.
image icon Waterfall – End of Route – 'Iao Valley, 1939, oil on sail, Honolulu Museum of Art.

In 1946, she began making the architectural forms of her Abiquiú firm—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 as Sky in a higher place the Clouds in the mid-1960s that were inspired past her views from plane windows.[29]

Worcester Art Museum held a retrospective of her work in 1960[24] and ten years subsequently, 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 serial of works in watercolor.[69] Her autobiography, Georgia O'Keeffe, published in 1976 was a best seller.[47]

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.[70] Although feminists historic O'Keeffe equally the originator of "female iconography",[71] O'Keeffe refused to join the feminist art movement or cooperate with any all-women projects.[72] She disliked being called a "woman artist" and wanted to be considered an "artist."[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 directly symbols for vulvas.[74]

Art dealer Samuel Kootz was one of O'Keeffe'south critics who, although considering her to be "the only prominent woman artist" (in the words of Marilyn Hall Mitchell), considered sexual expression in her work (and other artists' work) artistically problematic.[75] Kootz stated that "exclamation of sexual practice can only impede the talents of an artist, for information technology is an human activity of defiance, of grievance, in which the consciousness of these qualities retards the natural assertions of the painter".[75]

O'Keeffe stood her ground against sexual interpretations of her work, and for fifty years maintained that there was no connectedness between vulvas and her artwork.[75] Firing back against some of the criticism, O'Keeffe stated, "When people read erotic symbols into my paintings, they're really talking almost their own affairs."[76] She attributed other artists' attacks on her piece of work to psychological projection. O'Keeffe was as well seen every bit a revolutionary feminist; however, the artist rejected these notions, stating that "femaleness is irrelevant" and that "information technology has nothing to do with art making or achievement."[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 on, O'Keeffe was elected to the American Academy of Arts and Messages[24] and in 1966 was elected a Swain of the American Academy of Arts and Sciences.[79] Among her awards and honors, O'Keeffe received the M. Carey Thomas Award at Bryn Mawr College in 1971 and two years subsequently received an honorary degree from Harvard University.[24]

In 1977, President Gerald Ford presented O'Keeffe with the Presidential Medal of Freedom, 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 movement to New York from Texas subsequently he promised he would provide her with a quiet studio where she could paint. Inside a month he took the first of many nude photographs of her at his family's apartment while his married woman was away. His wife returned home once while their session was still in progress. She had suspected for a while that something was going on betwixt the two, and told him to terminate seeing O'Keeffe or get out. Stieglitz left dwelling immediately and found a place in the metropolis where he and O'Keeffe could live together. They slept separately for more than two weeks. Past the finish of the month they were in the same bed together, and by mid-Baronial when they visited Oaklawn, the Stieglitz family unit summer manor in Lake George in upstate New York, "they were like two teenagers in love. Several times a day they would run up the stairs to their bedroom, so eager to make love that they would start taking their clothes off as 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 Urban center to see her 1917 exhibition, and continued taking photographs, many of which were in the nude. It created a public sensation. When he retired from photography in 1937, he had made more than 350 portraits and more than 200 nude photos of her.[29] [82] In 1978, she wrote nigh how afar from them she had become, "When I await over the photographs Stieglitz took of me—some of them more than threescore years ago—I wonder who that person is. Information technology is equally if in my 1 life I take lived many lives."[83]

Owing to the legal delays caused by Stieglitz's get-go married woman and her family unit, information technology would accept six years before he obtained a divorce. In 1924, O'Keeffe and Stieglitz got married.[47] For the rest of their lives together, their relationship was, "a collusion....a system of deals and trade-offs, tacitly agreed to and carried out, for the most function, without the exchange of a word. Preferring avoidance to confrontation on nigh problems, O'Keeffe was the principal agent of collusion in their matrimony," according to biographer Benita Eisler.[84] They lived primarily in New York Urban center, but spent their summers at his father'south family unit estate, Oaklawn, in Lake George in upstate New York.[47]

Mental wellness [edit]

O'Keeffe's mental wellness was frail. 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 Urban center Music Hall. She was hospitalized for depression.[29] At the proposition 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's married woman, 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 after suffering a nervous breakdown, largely due to Stieglitz's affair with Dorothy Norman.[85] She did not paint again until Jan 1934. In 1933 and 1934, O'Keeffe recuperated in Bermuda and returned to New Mexico in 1934. In Baronial 1934, she moved to Ghost Ranch, n of Abiquiú. In 1940, she moved into a business firm on the ranch property. The varicolored cliffs surrounding the ranch inspired some of her near famous landscapes.[54] Amongst guests to visit her at the ranch over the years were Charles and Anne Lindbergh, singer-songwriter Joni Mitchell, poet Allen Ginsberg, and lensman Ansel Adams.[86] She traveled and camped at "Black Identify" often with her friend, Maria Chabot, and later with Eliot Porter.[54] [64]

Diplomacy [edit]

During O'Keeffe's union to Stieglitz, both had several diplomacy, O'Keeffe'southward with women and men, since she was bisexual. Though the nature of their relationship is unconfirmed, at that place is substantial testify that O'Keeffe had an matter with the famous painter, Frida Kahlo erstwhile during her matrimony to Diego Rivera. The two met in Dec of 1931 in New York Metropolis at the opening of Rivera's solo exhibition at the MOMA. Lucienne Bloch, a friend and banana of Frida and Diego's, claimed that Rivera bragged later that his married woman had been flirting with O'Keeffe. From here, a friendship and potential relationship began.[87]

Soon subsequently the women met, in 1932, Kahlo and her husband moved from NYC to Detroit. Here, Kahlo painted the famous Self Portrait on the Borderline Between Mexico and the United States. Many historians have noted the jack-in-the-pulpit flowers which prevarication on the United mexican states side of the painting. These flowers, which are not native to Mexico, were the characteristic of a serial of paintings by O'Keeffe just two years prior in which she painted the flowers at different periods of growth: i fully closed, ane open, etc. This same series of growth is featured in Kahlo'south painting.[87]

In 1933, while O'Keeffe was hospitalized for a mental breakdown, Kahlo wrote to her maxim, "I thought of you a lot and never forget your wonderful hands and the color of your eyes." Kahlo as well noted, "If you [are] nonetheless in the hospital when I come back I will bring you flowers, but it is so difficult to find the ones I would similar for y'all. I would exist so happy if you could write me even 2 words. I like you very much Georgia."[88]

In another letter written to a friend and colleague a calendar month later, Kahlo described this alphabetic character maxim, "O'Keeffe was in the hospital for three months, she went to Bermuda for a rest. She didn't made [sic] dear to me that time, I call up on account of her weakness. Also bad. Well that'southward all I can tell you until now."[87] Though there is no record of O'Keeffe'due south response to Kahlo, this has been used equally considerable show of a potential affair between the women.

There are a few other records of the women seeing each other a few other times. Both women visited each other'south homes on a couple occasions in the 1950s. Though records are not conclusive on whether their human relationship was romantic/sexual or not, and CNN goes and so far as to describe their human relationship equally an explicitly "formative friendship",[87] many sources merits that their relationship appeared somewhat 1-sided with all the records and mementos saved coming from Kahlo.

Cerro Pedernal, viewed from Ghost Ranch. This was a favorite subject for O'Keeffe, who one time said, "It'due south my private mountain. It belongs to me. God told me if I painted information technology enough, I could have it"[89] [90]

Painting materials as displayed at the O'Keeffe Museum in Santa Atomic number 26, NM

New beginning [edit]

In 1945, O'Keeffe bought a 2d house, an abandoned hacienda in Abiquiú, which she renovated into a home and studio.[91] Presently after O'Keeffe arrived for the summer in New Mexico in 1946, Stieglitz suffered a cerebral thrombosis (stroke). She immediately flew to New York to be with him. He died on July 13, 1946. She buried his ashes at Lake George.[92] She spent the next 3 years generally in New York settling his estate,[29] and and then moved permanently to New Mexico in 1949, spending fourth dimension at both Ghost Ranch and the Abiquiú business firm that she made into her studio.[29] [47]

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."[93] While O'Keeffe was known to accept 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's character.[94]

Travels [edit]

O'Keeffe enjoyed traveling to Europe, and effectually the globe, beginning in the 1950s. Several times she took rafting trips down the Colorado River,[24] including a trip downwards the Glen Canyon, Utah, area in 1961 with Webb and lensman Eliot Porter.[54]

Career terminate and death [edit]

In 1973, O'Keeffe hired John Bruce "Juan" Hamilton as a live-in banana and then a flagman. Hamilton was a potter, recently divorced and bankrupt. This companion of her last years was 58 years her junior.[95] Hamilton taught O'Keeffe to piece of work with clay, encouraged her to resume painting despite her deteriorating eyesight, and helped her write her autobiography. He worked for her for xiii years.[29] O'Keeffe became increasingly fragile in her late 90s. She moved to Santa Atomic number 26 in 1984, where she died on March 6, 1986, at the historic period of 98.[96] Her body was cremated and her ashes were scattered, as she wished, on the land around Ghost Ranch.[97]

Estate settlement [edit]

Post-obit O'Keeffe's expiry, her family contested her will considering codicils added to it in the 1980s had left most of her $65 meg estate to Hamilton. The case was ultimately settled out of court in July 1987.[97] [98] The case became a famous precedent in estate planning.[99] [100]

Paintings [edit]

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

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

  • O'Keeffe, Drawing No. 2 – Special, 1915, charcoal on laid paper, 23.6 by 18.2 inches (60 cm × 46.3 cm), National Gallery of Art

    O'Keeffe, Drawing No. 2 – Special, 1915, charcoal on laid paper, 23.6 by 18.2 inches (threescore cm × 46.3 cm), National Gallery of Fine art

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

    O'Keeffe, Blue #ane, 1916, watercolor and graphite on paper, Brooklyn Museum

  • O'Keeffe, Sunrise, 1916, watercolor on paper

    O'Keeffe, Sunrise, 1916, watercolor on paper

  • O'Keeffe, Series 1, No. 8, 1918, oil-painting on canvas, 20.0 by 16.0 inches (50.8 cm × 40.6 cm), Lenbachhaus, Munich

    O'Keeffe, Series 1, No. viii, 1918, oil-painting on canvas, 20.0 by 16.0 inches (50.8 cm × forty.half-dozen cm), Lenbachhaus, Munich

  • O'Keeffe, A Storm, 1922, pastel on paper, mounted on illustration board, 18.3 by 24.4 inches (46.4 cm × 61.9 cm) Metropolitan Museum of Art

    O'Keeffe, A Storm, 1922, pastel on paper, mounted on analogy lath, 18.3 by 24.iv inches (46.4 cm × 61.ix cm) Metropolitan Museum of Art

Legacy [edit]

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

O'Keeffe was a legend start in the 1920s, known every bit much for her independent spirit and female office model as for her dramatic and innovative works of art.[97] Nancy and Jules Heller said, "The near remarkable thing about O'Keeffe was the audacity and uniqueness of her early work." At that time, fifty-fifty in Europe, there were few artists exploring brainchild. Even though her works may show elements of unlike modernist movements, such equally Surrealism and Precisionism, her work is uniquely her own fashion.[101] She received unprecedented acceptance as a woman artist from the fine art world due to her powerful graphic images and inside a decade of moving to New York City, she was the highest-paid American woman artist.[102] She was known for a distinctive fashion in all aspects of her life.[103] O'Keeffe was also known for her relationship with Stieglitz, in which she provided some insight in her autobiography.[97] The Georgia O'Keeffe Museum says that she was one of the first American artists to practice pure abstraction.[2]

Mary Beth Edelson's Some Living American Women Artists / Terminal 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 Apostle's head was replaced with Nancy Graves, and Christ'southward with Georgia O'Keeffe. This image, addressing the function of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement."[104] [105]

A substantial office of her manor's assets were transferred to the Georgia O'Keeffe Foundation, a nonprofit. The Georgia O'Keeffe Museum opened in Santa Fe in 1997.[97] The avails included a large body of her piece of work, photographs, archival materials, and her Abiquiú house, library, and property. The Georgia O'Keeffe Abode and Studio in Abiquiú was designated a National Historic Landmark in 1998, and is now owned past the Georgia O'Keeffe Museum.[91]

In 1996, the U.S. Mail issued a 32-cent postage honoring O'Keeffe.[106] In 2013, on the 100th anniversary of the Armory Show, the USPS issued a stamp featuring O'Keeffe'south Black Mesa Landscape, New Mexico/Out Dorsum of Marie'southward Ii, 1930 as role of their Modern Art in America series.[107]

A fossilized species of archosaur was named Effigia okeeffeae ("O'Keeffe'southward 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".[108]

In November 2016, the Georgia O'Keeffe Museum recognized the importance of her time in Charlottesville past dedicating an exhibition, using watercolors that she had created over three summers. It was entitled, O'Keeffe at the Academy of Virginia, 1912–1914.[22]

O'Keeffe holds the record ($44.iv meg in 2014) for the highest cost paid for a painting by a woman.[109]

In 1991, PBS aired the American Playhouse production A Wedlock: Georgia O'Keeffe and Alfred Stieglitz, starring Jane Alexander as O'Keeffe and Christopher Plummer as Alfred Stieglitz.[110]

Lifetime Idiot box 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'southward brother Lee, and Tyne Daly as Mabel Contrivance Luhan. It premiered on September 19, 2009.[111] [112]

Publications [edit]

  • O'Keeffe, Georgia (1976). Georgia O'Keeffe. New York: Viking Press. ISBN978-0-670-33710-i.
  • O'Keeffe, Georgia (1988). Some Memories of Drawings. Albuquerque, NM: Academy of New United mexican states 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 One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz. Vol. Ane, 1915–1933 (Annotated ed.). New Haven, 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. ISBN978-1-4197-0394-2.
  • Winter, Jeanette (1998). My Name is Georgia: A Portrait. San Diego, New York, London: First Voyager Books. ISBN0-xv-201649-10.

References [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 due east f m h i j chiliad l m n o p q r s t u "Georgia O'Keeffe". Biography Channel. A&E Tv Networks. August 26, 2016. Archived from the original on January sixteen, 2017. Retrieved January xiv, 2017.
  3. ^ "Georgia O'Keeffe | American painter". Encyclopedia Britannica. Archived from the original on September 29, 2019. Retrieved October eleven, 2019.
  4. ^ Christiane, Weidemann (2008). 50 women artists you should know . Larass, Petra., Klier, Melanie. Munich: Prestel. ISBN978-3-7913-3956-6. OCLC 195744889. Archived from the original on Apr 4, 2020. Retrieved March 4, 2020.
  5. ^ "An unabashedly sensual approach to a genteel genre". Newsweek. 110: 74–75. November 9, 1987 – via Readers' Guide Abstracts.
  6. ^ Avishai, Tamar. "Episode 45: Georgia O'Keeffe'south Deer'southward Skull With Pedernal (1936)". The Lonely Palette (Podcast). Retrieved Dec 25, 2020.
  7. ^ Rile, Karen (December i, 2014). "Georgia O'Keeffe and the $44 Meg Jimson Weed". JSTOR Daily . Retrieved March 31, 2022.
  8. ^ "Birth Record Details". Wisconsin Historical Guild. Archived from the original on November 7, 2012. Retrieved July 23, 2009.
  9. ^ "Birthplace of Georgia O'Keeffe". Dominicus Prairie, WI. Archived from the original on July 29, 2017.
  10. ^ Wisconsin Legislature. 2013–14 Wisconsin Statutes 2013–14 Due south.84.1021 Georgia O'Keeffe Memorial Highway. Archived September 28, 2015, at the Wayback Machine
  11. ^ a b Roxana Robinson (1989). Georgia O'Keeffe: A Life. University Printing of New England. p. 193. ISBN0-87451-906-3.
  12. ^ a b Nancy Hopkins Reily (2007). Georgia O'keeffe, a Private Friendship: Walking the Dominicus Prairie Land. Sunstone Printing. p. 54. ISBN978-0-86534-451-8.
  13. ^ a b c d east f k Roberts, Norma J., ed. (1988), The American Collections, Columbus Museum of Art, p. 76, ISBN0-8109-1811-0
  14. ^ Canterbury, Sue (2018). Ida O'Keeffe: Escaping Georgia'south Shadow. Dallas, Texas: Dallas Museum of Art. p. 15. ISBN978-0-300-21456-7.
  15. ^ "Colonial Williamsburg Research & Educational activity". www.colonialwilliamsburg.org. Archived from the original on Apr 9, 2020. Retrieved April 9, 2020.
  16. ^ "Blogger". accounts.google.com.
  17. ^ Gerry Souter (2017). Georgia O'Keeffe. Parkstone International. pp. 34–35. ISBN978-v-457-46766-8.
  18. ^ Holland Cotter (Jan five, 2017). "Globe War I – The Quick. The Expressionless. The Artists". The New York Times. Archived from the original on January 11, 2017. Retrieved January xvi, 2017.
  19. ^ Roxana Robinson; Georgia O'Keeffe (1989). Georgia O'Keeffe: A Life. Academy Press of New England. pp. 191–193. ISBN978-0-87451-906-8.
  20. ^ Kathaleen Roberts (November 20, 2016). "Never-earlier-exhibited O'Keeffe paintings show shift to abstraction". Albuquerque Journal. Archived from the original on January sixteen, 2017. Retrieved January xiv, 2017.
  21. ^ 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. ISBN978-1-55595-198-6.
  22. ^ a b "How UVA shaped Georgia O'Keeffe". University of Virginia. November 10, 2016. Archived from the original on Jan sixteen, 2017. Retrieved Jan xiv, 2017.
  23. ^ Zilczer, Judith (1999). "'Light Coming on the Plains': Georgia O'Keeffe'southward Sunrise Series". Artibus et Historiae. xx (forty): 193–194. doi:10.2307/1483675. JSTOR 1483675.
  24. ^ a b c d e f Eleanor Tufts; National Museum of Women in the Arts; International Exhibitions Foundation (1987). American women artists, 1830–1930. International Exhibitions Foundation for the National Museum of Women in the Arts. p. 81. ISBN978-0-940979-01-7. Archived from the original on Apr 27, 2017. Retrieved Jan 20, 2017.
  25. ^ Zilczer, Judith (1999). "'Light Coming on the Plains': Georgia O'Keeffe's Sunrise Series". Artibus et Historiae. twenty (40): 191–208. doi:ten.2307/1483675. JSTOR 1483675.
  26. ^ a b Sharyn Rohlfsen Udall (2000). Carr, O'Keeffe, Kahlo: Places of Their Own . Yale University Press. p. 114. ISBN978-0-300-09186-1.
  27. ^ Michael Abatemarco (April 29, 2016). "Nascence of the abstract: Georgia O'Keeffe in Amarillo". Santa Fe New Mexican. Archived from the original on February 23, 2018. Retrieved Jan 18, 2017.
  28. ^ a b c d Rathbone, Belinda; Shattuck, Roger; Turner, Elizabeth Hutton; Arrowsmith, Alexandra; West, Thomas (1992). Two Lives, Georgia O'Keeffe & Alfred Stieglitz: A Conversation in Paintings and Photographs. HarperCollins. ISBN0-06-016895-one. OCLC 974243303.
  29. ^ a b c d e f g h i j Ballad Kort; Liz Sonneborn (2002). A to Z of American Women in the Visual Arts. New York: Facts on File. p. 170. ISBN0-8160-4397-three.
  30. ^ a b Birmingham Museum of Art (2010). Birmingham Museum of Art: guide to the drove. Alabama: Birmingham Museum of Fine art. p. 144. ISBN978-i-904832-77-five. Archived from the original on Dec eighteen, 2015. Retrieved January 15, 2016.
  31. ^ "Blue and Dark-green Music". Art Plant of Chicago. Archived from the original on January 12, 2017. Retrieved January 18, 2017.
  32. ^ a b Rosenfeld, Paul (October 1922). "The Paintings of Georgia O'Keeffe". Vanity Off-white. pp. 56, 112, 114.
  33. ^ a b Kristy Puchko (April 21, 2015). "15 Things You Should Know Most Georgia O'Keeffe". Mental Floss. Archived from the original on January 31, 2017. Retrieved Jan 14, 2017.
  34. ^ Liese Spencer (December 31, 2015). "From Georgia O'Keeffe to War and Peace: Unmissable Arts Events in 2016". The Guardian. Archived from the original on January eighteen, 2017. Retrieved Jan xiii, 2017.
  35. ^ Laura Cumming (April 7, 2012). "The ten best bloom paintings – in pictures". The Guardian. Archived from the original on Jan 18, 2017. Retrieved January 13, 2017.
  36. ^ Barbara Buhler Lynes; Jonathan Weinberg; Georgia O'Keeffe Museum (2011). Shared Intelligence: American Painting and the Photograph. Univ of California Press. p. 92. ISBN978-0-520-26906-4.
  37. ^ "Auction Results – American Art". Sotheby's. November 20, 2014. Archived from the original on September 11, 2016. Retrieved Jan 19, 2017.
  38. ^ "Jimson Weed/White Flower No. 1, 1932 by Georgia O'Keeffe". www.georgiaokeeffe.net . Retrieved June 10, 2020.
  39. ^ Nochlin, Linda; Reilly, Maura (2015). "Some Women Realists: Role 1". Women artists: the Linda Nochlin reader. pp. 76–85. ISBN978-0-500-23929-2.
  40. ^ Tessler, Nira (2015). Flowers and Towers: Politics of Identity in the Fine art of the American 'New Adult female' . Cambridge Scholars Publishing. ISBN978-one-4438-8623-ix.
  41. ^ "Manhattan Residences of Georgia O'Keeffe and Patricia Highsmith Published". NYC LGBT Historic Sites Projection. Archived from the original on December xviii, 2019. Retrieved Dec eighteen, 2019.
  42. ^ a b "Georgia O'Keeffe (1887–1986): East River from the Thirtieth Story of the Shelton Hotel, 1928". New United kingdom of great britain and northern ireland Museum of American Art. Archived from the original on June 24, 2016. Retrieved January 17, 2017.
  43. ^ a b "Of import Art by Georgia O'Keeffe: Radiator Building – Night, New York". The Art Story. Archived from the original on January eighteen, 2017. Retrieved January 17, 2017.
  44. ^ "Radiator Building – Night, New York". Crystal Bridges Museum of American Fine art. Archived from the original on October 18, 2016. Retrieved January 17, 2017.
  45. ^ "Georgia O'Keeffe: New York Street with Moon, 1925". Museo Thyssen-Bornemisz. Archived from the original on Dec 19, 2016. Retrieved January 17, 2017.
  46. ^ "The Shelton with Sunspots, N.Y., 1926". Art Institute of Chicago. Archived from the original on January 18, 2017. Retrieved January 17, 2017.
  47. ^ a b c d eastward f g h i Robert Torchia (September 29, 2016). "O'Keeffe, Georgia – Biography". National Gallery of Fine art. Archived from the original on January 18, 2017. Retrieved January 14, 2017.
  48. ^ Hunter Drohojowska-Philp (2005). Full Bloom: The Art and Life of Georgia O'Keeffe. W. Due west. Norton. p. 282. ISBN978-0-393-32741-0.
  49. ^ Vivien Green Fryd (2003). Art and the Crisis of Spousal relationship: Edward Hopper and Georgia O'Keeffe. University of Chicago Press. p. 164. ISBN978-0-226-26654-ane.
  50. ^ a b c Maurer, Rachel. "The D. H. Lawrence Ranch". University of New United mexican states. Archived from the original on June 25, 2009. Retrieved September 15, 2009.
  51. ^ Richmond-Moll, Jeffrey. "Georgia O'Keeffe, Blackness Cross with Stars and Blue" (PDF). Archived (PDF) from the original on August 12, 2019.
  52. ^ "The Lawrence Tree". Wadsworth Athenaeum. Hartford, Connecticut. Archived from the original on February xviii, 2017. Retrieved January xviii, 2017.
  53. ^ Eleanor Tufts; National Museum of Women in the Arts; International Exhibitions Foundation (1987). American women artists, 1830–1930. International Exhibitions Foundation for the National Museum of Women in the Arts. p. 83. ISBN978-0-940979-01-seven. Archived from the original on February 14, 2017. Retrieved January 20, 2017.
  54. ^ a b c d east f g "Rotating O'Keeffe showroom". Fort Worth, Texas: National Cowgirl Museum and Hall of Fame. 2010. Archived from the original on October 14, 2012.
  55. ^ a b c "Summer Days". Georgia O'Keeffe Museum. Archived from the original on Feb eight, 2017. Retrieved January 18, 2017.
  56. ^ "Summer Days". Whitney Museum of American Art. Archived from the original on February 2, 2017. Retrieved January 18, 2017.
  57. ^ Saville, Jennifer (1990), Georgia O'Keeffe: Paintings of Hawai'i, Honolulu: Honolulu University of Arts, p. 13
  58. ^ Jennings, Patricia & Maria Ausherman, Georgia O'Keeffe's Hawai'i, Koa Books, Kihei, Hawaii, 2011, p. iii
  59. ^ Papanikolas, Theresa, Georgia O'Keeffe and Ansel Adams, The Hawai'I Pictures, Honolulu Museum of Art, 2013
  60. ^ Severson, Don R. (2002), Finding Paradise: Isle Art in Private Collections, University of Hawaii Press, p. 119
  61. ^ a b Tony Perrottet (November 30, 2012), O'Keeffe'south Hawaii Archived December ii, 2012, at the Wayback Machine New York Times.
  62. ^ "Georgia O'Keeffe Paints Hawaii". National Endowment for the Humanities (NEH). Archived from the original on February 5, 2020. Retrieved April 9, 2020.
  63. ^ Severson, Don R. (2002), Finding Paradise: Island Art in Private Collections, Academy of Hawaii Press, p. 128
  64. ^ a b Porter's photograph, Eroded Dirt and Rock Flakes, Black Identify, New Mexico, July twenty, 1953, on cartermuseum.org, in the Amon Carter Museum Eliot Porter Collection Archived August 19, 2016, at the Wayback Machine Retrieved June sixteen, 2010
  65. ^ "The White Identify in Sun, 1943". Fine art Institute of Chicago. Archived from the original on Feb 1, 2017. Retrieved January 18, 2017.
  66. ^ Nancy Hopkins Reily (2009). Georgia O'Keeffe, a Individual Friendship: Walking the Abiquiu and Ghost Ranch land. Sunstone Press. pp. 152–153. ISBN978-0-86534-452-five. Archived from the original on February xiv, 2017. Retrieved January 20, 2017.
  67. ^ Nancy Hopkins Reily (2009). Georgia O'Keeffe, a Private Friendship: Walking the Abiquiu and Ghost Ranch land. Sunstone Press. p. 325. ISBN978-0-86534-452-5. Archived from the original on February 14, 2017. Retrieved January 20, 2017.
  68. ^ a b "Biography". Georgia O'Keeffe Museum. Archived from the original on Nov 15, 2012. Retrieved February 27, 2011.
  69. ^ Jack Salzman (1990). American Studies: An Annotated Bibliography 1984–1988. Cambridge University Press. p. 112. ISBN978-0-521-36559-eight. Archived from the original on February 14, 2017. Retrieved January 20, 2017.
  70. ^ Georgia O'Keeffe Place Setting, Brooklyn Museum, archived from the original on June twenty, 2015, retrieved June 5, 2015 .
  71. ^ "Georgia O'Keeffe". Brooklyn Museum. Archived from the original on Jan 21, 2017. Retrieved January eighteen, 2017.
  72. ^ "Georgia O'Keeffe at Tate Modern Review". Design Curial. October x, 2016. Archived from the original on Feb 2, 2017. Retrieved January eighteen, 2017.
  73. ^ "Georgia O'Keeffe". Didactics, Smithsonian American Art Museum. Archived from the original on June 29, 2012. Retrieved January twenty, 2017.
  74. ^ "The Flowers and Bones of Georgia O'Keeffe: A Inquiry-Based Dissertation Culminating in a Full-Length Play: Days with Juan - ProQuest". www.proquest.com. ProQuest 2516220633. Retrieved March 31, 2022.
  75. ^ a b c Mitchell, Marilyn Hall (1978). "Sexist Art Criticism: Georgia O'Keeffe: A Instance Written report". Signs. iii (3): 681–687. doi:10.1086/493510. ISSN 0097-9740. JSTOR 3173179. S2CID 144414057.
  76. ^ "Sex, Stieglitz and Georgia O'Keeffe | art | Agenda | Phaidon". www.phaidon.com . Retrieved March 31, 2022.
  77. ^ "Georgia O'Keeffe: Inevitable Icon - ProQuest". www.proquest.com . Retrieved March 31, 2022.
  78. ^ "Special Collections Research Center Knowledgebase".
  79. ^ "Book of Members, 1780–2010: Chapter O" (PDF). American Academy of Arts and Sciences. Archived (PDF) from the original on June thirteen, 2011. Retrieved Apr 14, 2011.
  80. ^ The National Start Ladies Library (2010). Heroes of the Presidential Medal of Freedom (PDF). Canton Ohio. p. 3. Archived (PDF) from the original on Feb 14, 2011. Retrieved February 11, 2011. Georgia O'Keeffe (1887–1986)...Presidential Medal of Liberty received January ten, 1977
  81. ^ John F. Matthews (June 15, 2010). "O'Keeffe, Georgia Otto". Handbook of Texas Online. Archived from the original on December 31, 2015. Retrieved January 17, 2016.
  82. ^ Brennan, Marcia (2002). Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics . MIT Press. ISBN0-262-52336-1.
  83. ^ Lynes, Barbara (1989). O'Keeffe, Stieglitz and the Critics, 1916–1929. Ann Arbor, Michigan: UMI Research Press. pp. 55–56. ISBN0-8357-1930-8.
  84. ^ McKenna, Kristine (June 2, 1991). "The Young and the Restless : O'Keefe & Stieglitz: An American Romance, By Benita Eisler (Doubleday: 560 pp.)". Los Angeles Times. ISSN 0458-3035. Archived from the original on April xvi, 2017. Retrieved April xv, 2017.
  85. ^ Hunter Drohojowska-Philp (2005). Full Bloom: The Art and Life of Georgia O'Keeffe. W. W. Norton. pp. v–half-dozen. ISBN978-0-393-32741-0. Archived from the original on February 14, 2017. Retrieved January twenty, 2017.
  86. ^ Jonathan Stewart (2014). Walking Away From The Land: Change At The Crest Of A Continent. Xlibris Corporation. p. 319. ISBN978-one-4931-8090-5. Archived from the original on February fourteen, 2017. Retrieved January 20, 2017. [ self-published source ]
  87. ^ a b c d Chernick, Karen. "Kahlo and O'Keeffe -- the formative friendship between two artistic giants". CNN . Retrieved October 22, 2022.
  88. ^ Kettler, Sara. "Backside Frida Kahlo's Existent and Rumored Affairs With Men and Women". Biography . Retrieved Oct 22, 2022.
  89. ^ Abrams, Dennis. O'Keeffe, Georgia. 2009. Georgia O'Keeffe. Infobase Publishing, p. 97
  90. ^ A similar remark is registered in "Her Story and Her Work" Archived October 29, 2011, at the Wayback Motorcar by Bill Long, half dozen/29/07.: "I painted it often enough thinking that, if I did so, God would give it to me."
  91. ^ a b Victor J. Danilov (2013). Famous Americans: A Directory of Museums, Historic Sites, and Memorials. Scarecrow Press. p. 17. ISBN978-0-8108-9186-ix. Archived from the original on Feb fourteen, 2017. Retrieved January 20, 2017.
  92. ^ Dennis Abrams; Georgia O'Keeffe (2009). Georgia O'Keeffe. Infobase Publishing. p. 100. ISBN978-1-4381-2827-vi. Archived from the original on February 14, 2017. Retrieved January xx, 2017.
  93. ^ Kilian, Michael (August 1, 2002). "Santa Fe showroom paints a unlike moving picture of O'Keeffe". Chicago Tribune. Archived from the original on Dec 4, 2010. Retrieved Oct ten, 2010. ... her place, through the eyes and lens of her close and longtime friend, lensman Todd Webb (1905–2000), who produced a glorious drove of photos of her and her surroundings at her Ghost Ranch and Abiquiú houses between 1955 and 1981.
  94. ^ Zimmer, William (December 31, 2000). "Art; Exploring the Affinities Among Painting, Music and Trip the light fantastic toe". The New York Times. Archived from the original on June 21, 2018. Retrieved October 10, 2010. O'Keeffe'due south prickly personality is legendary, only with Webb she displays the kind of quietness and at-home she wanted to embody.
  95. ^ "Who Was Georgia O'Keeffe's Younger Man, Juan Hamilton?". Artdex. January 26, 2021. Retrieved September 16, 2021.
  96. ^ Asbury, Edith Evans (March vii, 1986). "Obituary: Georgia O' Keeffe Expressionless at 98; Shaper of Modern Art in U.S." The New York Times. Archived from the original on September 29, 2009. Retrieved June xiii, 2010.
  97. ^ a b c d eastward Carol Kort; Liz Sonneborn (2002). A to Z of American Women in the Visual Arts. New York: Facts on File. p. 171. ISBN0-8160-4397-3.
  98. ^ "Settlement Is Granted Over O'Keeffe Manor". The New York Times. Associated Press. July 26, 1987. Archived from the original on February 15, 2009. Retrieved June i, 2010.
  99. ^ Anne Dingus. "Georgia O'Keeffe". Texas Monthly. Archived from the original on September 6, 2007. Retrieved January 3, 2007.
  100. ^ Vaughn W. Henry (May 10, 2004). "Establishing a Value is Important!". Planned Giving Design Heart, LLC. Archived from the original on Feb 13, 2007. Retrieved Jan three, 2007.
  101. ^ Jules Heller; Nancy Heller (1995). Due north American Women Artists of the Twentieth Century: A Biographical Lexicon . Garland. p. 416. ISBN978-0-8240-6049-7. Archived from the original on December 16, 2019. Retrieved March half-dozen, 2020.
  102. ^ Hunter Drohojowska-Philp (2005). Full Bloom: The Fine art and Life of Georgia O'Keeffe. W.W. Norton. pp. 4–5. ISBN978-0-393-32741-0. Archived from the original on February 14, 2017. Retrieved January xx, 2017.
  103. ^ Alexandra Lange (June 23, 2017). "Jane Jacobs, Georgia O'Keeffe, and the Power of the Marimekko Dress". The New Yorker. Archived from the original on June 29, 2018. Retrieved July 25, 2018.
  104. ^ "Mary Beth Edelson". The Frost Art Museum Drawing Project. Archived from the original on January 11, 2014. Retrieved January 11, 2014.
  105. ^ "Mary Beth Adelson". Clara – Database of Women Artists. Washington, D.C.: National Museum of Women in the Arts. Archived from the original on January 10, 2014. Retrieved January x, 2014.
  106. ^ "Stamp Series". Us Mail. Archived from the original on August 10, 2013. Retrieved September 2, 2013.
  107. ^ "Modernistic Fine art in America 1913–1931, Forever". USPS. Archived from the original on March 16, 2015. Retrieved March eight, 2015.
  108. ^ Sterling J Nesbitt1, and Marking A Norell (May 7, 2006). "Extreme convergence in the torso plans of an early suchian (Archosauria) and ornithomimid dinosaurs (Theropoda)". Proc Biol Sci. The Majestic Society. 273 (1590): 1045–1048. doi:10.1098/rspb.2005.3426. PMC1560254. PMID 16600879.
  109. ^ "The Most Expensive Female Artists 2016 – artnet News". artnet News. May 24, 2016. Archived from the original on Nov 17, 2017. Retrieved November 17, 2017.
  110. ^ Susan Rex (July 14, 1991). "Focus : Georgia on Her Mind : Jane Alexander'due south Fascination With Creative person O'Keeffe Leads to PBS' 'Playhouse'". Los Angeles Times. Archived from the original on February one, 2017. Retrieved January 18, 2017.
  111. ^ "Georgia O'Keeffe". Lifetime Telly's. Archived from the original on August 30, 2009.
  112. ^ Vincent Terrace (2010). The Yr in Tv set, 2009: A Catalog of New and Continuing Serial, Miniseries, Specials and Tv Movies. McFarland. p. 59. ISBN978-0-7864-5644-4. Archived from the original on February 14, 2017. Retrieved January 20, 2017.

Further reading [edit]

  • Eldredge, Charles C. (1991). Georgia O'Keeffe . New York: Harry N. Abrams, Inc. ISBN978-0-8109-3657-7.
  • Haskell, Barbara, ed. (2009). Georgia O'Keeffe: Abstraction. Whitney Museum of American Art. New Haven, CT: Yale University Press. ISBN978-0-300-14817-half dozen.
  • Hogrefe, Jeffrey (1994). O'Keeffe, The Life of an American Fable. New York: Bantam. ISBN978-0-553-56545-4.
  • Lisle, Laurie (1986). Portrait of an Creative person. New York: Washington Square Press. ISBN978-0-671-60040-2.
  • Lynes, Barbara Buhler (1999). Georgia O'Keeffe: Catalogue Raisonné. Washington, D.C.: National Gallery of Fine art. ISBN978-0-300-08176-3.
  • Lynes, Barbara Buhler; Poling-Kempes, Lesley; Turner, Frederick W. (2004). Georgia O'Keeffe and New Mexico: A Sense of Place (third ed.). Princeton, NJ: Princeton University Printing. ISBN978-0-691-11659-iv.
  • Lynes, Barbara Buhler (2007). Georgia O'Keeffe Museum Collections. Harry N. Abrams. ISBN978-0-8109-0957-ane.
  • Lynes, Barbara Buhler; Phillips, Sandra Southward. (2008). Georgia O'Keeffe and Ansel Adams: Natural Affinities. Petty, Brown and Company. ISBN978-0-316-11832-3.
  • Lynes, Barbara Buhler; Weinberg, Jonathan, eds. (2011). Shared Intelligence: American Painting and The Photo. Academy of California Press. ISBN978-0-520-26906-4.
  • Lynes, Barbara Buhler (2012). Georgia O'Keeffe: Life & Work. Skira. ISBN978-88-572-1232-6.
  • Merrill, C. South. (2010). Weekends with O'Keeffe. Albuquerque, NM: University of New Mexico Press. ISBN978-0-8263-4928-half dozen.
  • Messinger, Lisa Mintz (2001). Georgia O'Keeffe. London: Thames & Hudson. ISBN0-500-20340-7.
  • Montgomery, Elizabeth (1993). Georgia O'Keeffe. New York: Barnes & Noble. ISBN978-0-88029-951-0.
  • Orford, Emily-Jane Hills (2008). The Artistic Spirit: Stories of 20th Century Artists. Ottawa: Baico Publishing. ISBN978-one-897449-18-nine.
  • Patten, Christine Taylor; Cardona-Hine, Alvaro (1992). Miss O'Keeffe. Albuquerque, NM: University of New Mexico Printing. ISBN978-0-8263-1322-5.
  • Peters, Sarah W. (1991). Condign O'Keeffe. New York: Abbeville Press. ISBN978-1-55859-362-half-dozen.

External links [edit]

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

April Showers Edith Wharton Summary,

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

Posted by: garzawaso1970.blogspot.com

0 Response to "April Showers Edith Wharton Summary"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel