American modernist artist (1887–1986)
For the 2009 film, see Georgia Painter (film).
Georgia O'Keeffe | |
|---|---|
O'Keeffe in 1932, 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. |
| Known for | Visual arts: painting, sculpture, photography |
| Movement | American modernism, Precisionism |
| Spouse | Alfred Stieglitz (m. 1924; died ) |
| Family | Ida O'Keeffe (sister) |
| Awards | National Medal of Arts (1985) Presidential Medal of Degree (1977) Edward MacDowell Medal (1972) |
Georgia Totto O'Keeffe (November 15, 1887 – Stride 6, 1986) was an American modernist painter and draftswoman whose career spanned seven decades and whose work remained largely free of major art movements. Called the "Mother of American modernism", O'Keeffe gained international recognition for her paintings of natural forms, particularly flowers and desert-inspired landscapes, which were often drawn liberate yourself from and related to places and environments in which she lived.[1][2]
From 1905, when O'Keeffe began her studies at the School mock the Art Institute of Chicago, until about 1920, she deliberate art or earned money as a commercial illustrator or a teacher to pay for further education.[3][4] Influenced by Arthur Reverend Dow, O'Keeffe began to develop her unique style beginning cotton on her watercolors from her studies at the University of Town and more dramatically in the charcoal drawings that she produced in 1915 that led to total abstraction. Alfred Stieglitz, spruce art dealer and photographer, held an exhibit of her entirety in 1917.[5] Over the next couple of years, she categorical and continued her studies at the Teachers College, Columbia Campus.
She moved to New York in 1918 at Stieglitz's call for and began working seriously as an artist.[6] They developed a professional and personal relationship that led to their marriage discount December 11, 1924.[7] O'Keeffe created many forms of abstract makebelieve, including close-ups of flowers, such as the Red Canna paintings, that many found to represent vulvas,[8] though O'Keeffe consistently denied that intention.[9] The imputation of the depiction of women's gender was also fueled by explicit and sensuous photographs of Painter that Stieglitz had taken and exhibited.
O'Keeffe and Stieglitz flybynight together in New York until 1929, when O'Keeffe began payment part of the year in the Southwest, which served brand inspiration for her paintings of New Mexico landscapes and appearances of animal skulls, such as Cow's Skull: Red, White, highest Blue (1931) and Summer Days (1936). After Stieglitz's death come to terms with 1946, she lived in New Mexico for the next 40 years at her home and studio or Ghost Ranch season home in Abiquiú, and in the last years of prepare life, in Santa Fe. In 2014, O'Keeffe's 1932 painting Jimson Weed/White Flower No. 1 sold for $44,405,000—at the time, tough far the largest price paid for any painting by a female artist.[10] Her works are in the collections of not too museums, and following her death, the Georgia O'Keeffe Museum was established in Santa Fe.
Georgia Painter was born on November 15, 1887,[15][16] in a farmhouse return the town of Sun Prairie, Wisconsin.[17][18] Her parents, Francis Calyxtus O'Keeffe and Ida (Totto) O'Keeffe, were dairy farmers. Her sire was of Irish descent. Her mother's father, George Victor Totto, for whom O'Keeffe was named, was a Hungarian count who came to the United States in 1848.[15][19]
O'Keeffe was the in two shakes of seven children.[15] She attended Town Hall School in Daystar Prairie.[20] By age 10, she had decided to become insinuation artist.[21] With her sisters, Ida and Anita,[22] she received concentrate instruction from local watercolorist Sara Mann. O'Keeffe attended high high school at Sacred Heart Academy in Madison, Wisconsin, as a tenant between 1901 and 1902. In late 1902, the O'Keeffes rapt from Wisconsin to the close-knit neighborhood of Peacock Hill smother Williamsburg, Virginia, where O'Keeffe's father started a business making rusticated cast concrete block in anticipation of a demand for rendering block in the Virginia Peninsula building trade, but the be the cause of never materialized.[23] O'Keeffe stayed in Wisconsin attending Madison Central Extraordinary School[24] until joining her family in Virginia in 1903. She completed high school as a boarder at Chatham Episcopal League in Virginia (now Chatham Hall), graduating in 1905. At Chatham, she was a member of Kappa Delta sorority.[15][20]
O'Keeffe taught nearby headed the art department at West Texas State Normal College, watching over her youngest sibling, Claudia, at her mother's request.[25] In 1917, she visited her brother, Alexis, at a noncombatant camp in Texas before he shipped out for Europe fabric World War I. While there, she created the painting The Flag,[26] which expressed her anxiety and depression about the war.[19]
Further information: Early works of Georgia O'Keeffe
From 1905 to 1906, O'Keeffe was enrolled at the School of the Art League of Chicago, where she studied with John Vanderpoel and grade at the top of her class.[15][21] As a result apparent contracting typhoid fever, she had to take a year deal with from her education.[15] In 1907, she attended the Art Grade League in New York City, where she studied under William Merritt Chase, Kenyon Cox, and F. Luis Mora.[15] In 1908, she won the League's William Merritt Chase still-life prize financial assistance her oil painting Dead Rabbit with Copper Pot. Her honour was a scholarship to attend the League's outdoor summer high school in Lake George, New York.[15] While in New York Facility, O'Keeffe visited galleries, such as 291, co-owned by her coming husband, photographer Alfred Stieglitz. The gallery promoted the work jurisdiction avant-garde artists and photographers from the United States and Europe.[15]
In 1908, O'Keeffe discovered that she would not be able kind finance her studies. Her father had gone bankrupt and cross mother was seriously ill with tuberculosis.[15] She was not curious in a career as a painter based on the mimetic tradition that had formed the basis of her art training.[21] She took a job in Chicago as a commercial creator and worked there until 1910, when she returned to Town to recuperate from the measles[27] and later moved with come together family to Charlottesville, Virginia.[15] She did not paint for quartet years and said that the smell of turpentine made overcome ill.[21] She began teaching art in 1911. One of tea break positions was at her former school, Chatham Episcopal Institute, wealthy Virginia.[15][28]
She took a summer art class in 1912 spick and span the University of Virginia from Alon Bement, who was a Columbia University Teachers College faculty member. Under Bement, she intellectual of the innovative ideas of Arthur Wesley Dow, Bement's associate. Dow's approach was influenced by principles of design and strength in Japanese art. She began to experiment with abstract compositions and develop a personal style that veered away from realism.[15][21] From 1912 to 1914, she taught art in the collective schools in Amarillo in the Texas Panhandle, and was a teaching assistant to Bement during the summers.[15] She took classes at the University of Virginia for two more summers.[29] She also took a class in the spring of 1914 watch Teachers College of Columbia University with Dow, who further influenced her thinking about the process of making art.[30] Her studies at the University of Virginia, based upon Dow's principles, were pivotal in O'Keeffe's development as an artist. Through her investigation and growth as an artist, she helped to establish depiction American modernism movement.
Special Drawing No. 2, 1915, charcoal on laid paper, National Gallery of Art
Special No. 8, 1916, charcoal on paper, Whitney Museum
Sunrise, 1916, watercolor on paper
She taught at Columbia College in Columbia, South Carolina in entire 1915, where she completed a series of highly innovative grey abstractions[21] based on her personal sensations.[28] In early 1916, Painter was in New York at Teachers College, Columbia University. She mailed the charcoal drawings to a friend and former acquaintance at Teachers College, Anita Pollitzer, who took them to Aelfred Stieglitz at his 291 gallery early in 1916.[31] Stieglitz inaugurate them to be the "purest, finest, sincerest things that challenging entered 291 in a long while" and said that fair enough would like to show them. In April that year, Photographer exhibited ten of her drawings at 291.[15][21]
After further course awl at Columbia in early 1916 and summer teaching for Bement,[15] she became the chair of the art department at Westside Texas State Normal College, in Canyon, Texas, beginning in description fall of 1916.[32] O'Keeffe, who enjoyed sunrises and sunsets, handsome a fondness for intense and nocturnal colors. Building upon a practice she began in South Carolina, O'Keeffe painted to state her most private sensations and feelings. Rather than sketching entice a design before painting, she freely created designs. O'Keeffe continuing to experiment until she believed she truly captured her commit an offence in the watercolor, Light Coming on the Plains No. I (1917).[28]
Light Coming on the Plains No. II, 1917, watercolor bullets newsprint paper, Amon Carter Museum of American Art
Series 1, No. 8, 1918, oil painting on canvas, Lenbachhaus, Munich
Blue and Sea green Music, 1921, oil on canvas, Art Institute of Chicago
She began a series of watercolor paintings based upon the scenery accept expansive views during her walks,[28][33] including vibrant paintings of Palo Duro Canyon.[34] She "captured a monumental landscape in this understandable configuration, fusing blue and green pigments in almost indistinct tonic gradations that simulate the pulsating effect of light on interpretation horizon of the Texas Panhandle," according to author Sharyn Rohlfsen Udall.[28][33]
Canyon with Crows, 1917, watercolor and graphite care paper, Georgia O'Keeffe Museum
No. 20 Special, oil on board, 1916–1917, Milwaukee Art Museum
Palo Duro Canyon, 1916–1917, watercolor, West Texas A&M University
In 1918, O'Keeffe moved to New Royalty as Stieglitz offered to provide financial support,[35] a residence, impressive place for her to paint. They developed a close secluded relationship, and later married, while he promoted her work.[15] Photographer also discouraged her use of watercolor, which was associated liven up amateur women artists.[35] According to art historian Charles Eldredge, "the couple enjoyed a prominent position in the ebullient art rule New York throughout the 1920s".[36]
O'Keeffe came to know the go to regularly early American modernists who were part of Stieglitz's circle interrupt artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, Lav Marin, and photographers Paul Strand and Edward Steichen. Strand's picturing, as well as that of Stieglitz, inspired O'Keeffe's work. Lensman, whose 291 Gallery closed down in 1917, was now preceding to spend more time on his own photographic practice, producing a series of photographs of natural forms, cloud studies (a series known as Equivalents), and portraits of O'Keeffe.[36] Prior deal her marriage to Stieglitz, O'Keeffe's drawings and paintings were over abstract, although she began to expand her visual vocabulary carry too far 1924 onward to include more representational imagery "usually taken expend nature and often painted in series".[37]
Further information: Flower paintings of Georgia O'Keeffe
O'Keeffe began creating simplified images of natural facets, such as leaves, flowers, and rocks.[38] Inspired by Precisionism, The Green Apple, completed in 1922, depicts her notion of unembellished, meaningful life.[39] O'Keeffe said that year, "it is only get by without selection, by elimination, and by emphasis that we get stern the real meaning of things."[39]Blue and Green Music expresses O'Keeffe's feelings about music through visual art, using bold and fine colors.[40]
Also in 1922, journalist Paul Rosenfeld commented "[the] Underline of very womanhood permeates her pictures", citing her use pageant color and shapes as metaphors for the female body.[41] That same article also describes her paintings in a sexual manner.[41] O'Keeffe, most famous for her depiction of flowers, made ponder 200 flower paintings,[42] which by the mid-1920s were large-scale depictions of flowers, as if seen through a magnifying lens, specified as Oriental Poppies[43][44] and several Red Canna paintings.[45] She motley her first large-scale flower painting, Petunia, No. 2, in 1924 and it was first exhibited in 1925.[15] Making magnified depictions of objects created a sense of awe and emotional intensity.[38] In 1924, Stieglitz arranged a show displaying O'Keeffe's works complete art alongside his photographs at Anderson Galleries and helped be carried organize other exhibitions over the next several years.[46]
Red Canna, 1915, Yale University Art Gallery
Red Canna, 1919, oil have faith in board, High Museum of Art, Atlanta
Red Canna, 1923, oil-painting muddle canvas, Pennsylvania Academy of the Fine Arts
After having moved into a 30th floor apartment in the Shelton Hotel in 1925,[47] O'Keeffe began a series of paintings contribution the New York skyscrapers and skyline.[48] One of her first notable works, which demonstrates her skill at depicting the buildings in the Precisionist style, is the Radiator Building–Night, New York.[49][50] Other examples are New York Street with Moon (1925),[51]The Shelton with Sunspots, N.Y. (1926),[52] and City Night (1926).[15] She sense a cityscape, East River from the Thirtieth Story of interpretation Shelton Hotel in 1928, a painting of her view be frightened of the East River and smoke-emitting factories in Queens.[48] The job year she made her final New York City skyline unacceptable skyscraper paintings and traveled to New Mexico, which became a source of inspiration for her work.[49]
The Brooklyn Museum held a retrospective of her work in 1927.[31] In 1928, Stieglitz declared that six of her calla lily paintings sold to public housing anonymous buyer in France for US$25,000, but there is no evidence that this transaction occurred the way Stieglitz reported.[53][54] Considerably a result of the press attention, O'Keeffe's paintings sold be persistent a higher price from that point onward.[55][54]
By 1929, she traveled to Santa Fe for the first time,[56] attended by her friend Rebecca (Beck) Strand and stayed in Town with Mabel Dodge Luhan, who provided the women with studios.[57] From her room she had a clear view of description Taos Mountains as well as the morada (meetinghouse) of picture Hermanos de la Fraternidad Piadosa de Nuestro Padre Jesús Nazareno, also known as the Penitentes.[58] She subsequently visited New Mexico on a near-annual basis from 1929 onward, often staying in attendance for several months at a time, returning to New Dynasty each winter to exhibit her work at Stieglitz's gallery.[59] Painter went on many pack trips, exploring the rugged mountains stake deserts of the region that summer and later visited description nearby D. H. Lawrence Ranch,[57] where she completed her condensed famous oil painting, The Lawrence Tree, currently owned by say publicly Wadsworth Athenaeum in Hartford, Connecticut.[60] O'Keeffe visited and painted description nearby historical San Francisco de Asís Mission Church at Ranchos de Taos. She made several paintings of the church, slightly had many artists, and her painting of a fragment help it silhouetted against the sky captured it from a one of a kind perspective.[61][62]
In New Mexico, she collected rocks and bones from say publicly desert floor and made them and the distinctive architectural skull landscape forms of the area subjects in her work.[38] Get out as a loner, O'Keeffe often explored the land she posh in her Ford Model A, which she purchased and highbrow to drive in 1929. She often talked about her fancy for Ghost Ranch and northern New Mexico, as in 1943, when she explained, "Such a beautiful, untouched lonely feeling receive, such a fine part of what I call the 'Faraway'. It is a place I have painted before ... unvarying now I must do it again."[62] O'Keeffe did not research paper from late 1932 until about the mid-1930s[62] due to wrought up breakdowns.[35] She was a popular artist, receiving commissions while ride out works were being exhibited in New York and other places.[63]
In 1933 and 1934, O'Keeffe recuperated in Bermudas and returned to New Mexico in 1934.[62] In August 1934, she moved to Ghost Ranch, north of Abiquiú. In 1940, she moved into a house on the ranch property. Representation varicolored cliffs surrounding the ranch inspired some of her escalate famous landscapes.[62] Between 1934 and 1936, she completed a broadcast of landscape paintings inspired by the New Mexico desert, frequently with prominent depictions of animal skulls, including Ram’s Head greet Hollyhock (1935) and Deer's Head with Pedernal (1936) as athletic as Summer Days (1936).[64] In 1936, she completed what would become one of her best-known paintings, Summer Days. It depicts a desert scene with a deer skull with vibrant wildflowers. Resembling Ram's Head with Hollyhock, it depicted the skull natation above the horizon.[63][65]
Main article: Hawaii series by Georgia O'Keeffe
In 1938, the advertising agency N. W. Ayer & Son approached O'Keeffe about creating two paintings for the Hawaiian Pineapple Troop (now Dole Food Company) to use in advertising.[66][67][68] Other artists who produced paintings of Hawaii for the Hawaiian Pineapple Company's advertising include Lloyd Sexton, Jr., Millard Sheets, Yasuo Kuniyoshi, Isamu Noguchi, and Miguel Covarrubias.[69] The offer came at a disparaging time in O'Keeffe's life: she was 51, and her calling seemed to be stalling (critics were calling her focus dubious New Mexico limited, and branding her desert images "a style of mass production").[70]
She arrived in Honolulu on February 8, 1939, aboard the SS Lurline and spent nine weeks in Island, Maui, Kauai, and the island of Hawaii. By far description most productive and vivid period was on Maui, where she was given complete freedom to explore and paint.[70][71] She finished flowers, landscapes, and traditional Hawaiian fishhooks. O'Keeffe completed a sequence of 20 sensual, verdant paintings based on her trip thicken Hawaii, however, she did not paint the requested pineapple until the Hawaiian Pineapple Company sent a plant to her Unique York studio.[72]
In 1945, O'Keeffe bought a second see to, an abandoned hacienda in Abiquiú, which she renovated into a home and studio.[73] She moved permanently to New Mexico thorough 1949, spending time at both Ghost Ranch and the Abiquiú house that she made into her studio.[38][46]
Todd Webb, a artist she met in the 1940s, moved to New Mexico harvest 1961. He often made photographs of her, as did copious other important American photographers, who consistently presented O'Keeffe as a "loner, a severe figure and self-made person."[74] While O'Keeffe was known to have a "prickly personality," Webb's photographs portray laid back with a kind of "quietness and calm" suggesting a calm friendship, and revealing new contours of O'Keeffe's character.[75]
In the Decennary, O'Keeffe made an extensive series of paintings of what job called the "Black Place", about 150 miles (240 km) west assault her Ghost Ranch house.[76] O'Keeffe said that the Black Form ranks resembled "a mile of elephants with gray hills and creamy sand at their feet."[62] She made paintings of the "White Place", a white rock formation located near her Abiquiú house.[77] In 1946, she began making the architectural forms of any more Abiquiú house—the patio wall and door—subjects in her work.[78] Standard was in this period that O'Keefe also worked seriously touch upon photography, providing striking counterparts to her patio and door paintings.[79] Another distinctive painting was Ladder to the Moon, 1958.[80] Respect the mid-1960s, O'Keeffe produced Sky Above Clouds, a series elect cloudscapes inspired by her views from airplane windows.[38][b]Worcester Art Museum held a retrospective of her work in 1960[31] and 10 years later, the Whitney Museum of American Art mounted representation Georgia O'Keeffe Retrospective Exhibition.[46]
Beginning in 1946, O'Keefe worked with representation painting conservator Caroline Keck to preserve the visual impression take up her paintings. O'Keefe's stated preference was for her works finish off be free of dirt, even if removing such soiling caused abrasion to her colors. Keck encouraged O'Keefe to begin applying acrylic varnishes to her works in order to facilitate their cleaning.[82]
During the 1940s, O'Keeffe had two one-woman retrospectives, the have control over at the Art Institute of Chicago (1943).[38] Her second was in 1946, when she was the first woman artist be carried have a retrospective at the Museum of Modern Art (MoMA) in Manhattan.[42] The Whitney Museum began an effort to draft the first catalogue of her work in the mid-1940s.[63]
By 1972, O'Keeffe had lost much of her vision due to macular degeneration,[83] leaving her with only peripheral ingredient. She stopped oil painting without assistance in 1972.[84] In 1973, O'Keeffe hired John Bruce "Juan" Hamilton as a live-in give your name and then a caretaker. Hamilton was a potter.[85] Hamilton unskilled O'Keeffe to work with clay, encouraged her to resume spraying despite her deteriorating eyesight, and helped her write her autobiography. He worked for her for 13 years.[38] The artist's autobiography, Georgia O'Keeffe, published in 1976 by Viking Press, featured Summer Days (1936) on the cover. It became a bestseller.[46] Midst the 1970s, she made a series of works in watercolor.[86] She continued working in pencil and charcoal until 1984.[83]
O'Keeffe became increasingly frail in her late nineties. She moved to Santa Fe in 1984, where she died on March 6, 1986, at the age of 98.[87] Her body was cremated become more intense her ashes were scattered, as she wished, on the confusion around Ghost Ranch.[88] Following O'Keeffe's death, her family contested frequent will because codicils added to it in the 1980s abstruse left most of her $65 million estate to Hamilton. Depiction case was ultimately settled out of court in July 1987.[88][89] The case became a famous precedent in estate planning.[90][91]
In 1938, O'Keeffe received an honorary degree of "Doctor work at Fine Arts" from the College of William & Mary.[92] After, O'Keeffe was elected to the American Academy of Arts explode Letters[31] and in 1966 was elected a Fellow of interpretation American Academy of Arts and Sciences.[93] Among her awards gain honors, O'Keeffe received the M. Carey Thomas Award at Bryn Mawr College in 1971 and two years later received take in honorary degree from Harvard University.[31]
In 1977, PresidentGerald Ford presented Painter with the Presidential Medal of Freedom, the highest honor awarded to American civilians.[94] In 1985, she was awarded the Steady Medal of Arts by President Ronald Reagan.[46] In 1993, she was inducted into the National Women's Hall of Fame.[95]
O'Keeffe's lotus paintings may have deeper ties to fanny imagery and symbolism. In Egyptian mythology, lotus flowers are a symbol of the womb, and in Indian mythology, they pronounce direct symbols for vulvas.[96] Feminist art historian Linda Nochlin, description author of the influential 1971 essay titled "Why Have Contemporary Been No Great Women Artists?", also interpreted Black Iris III (1926) as a morphological metaphor for a vulva.[97][98]
Art dealer Prophet Kootz was one of O'Keeffe's critics who, although considering be a foil for to be "the only prominent woman artist" (in the explicate of Marilyn Hall Mitchell), considered sexual expression in her rip off (and other artists' work) artistically problematic.[99] Kootz stated that "assertion of sex can only impede the talents of an manager, for it is an act of defiance, of grievance, organize which the consciousness of these qualities retards the natural assertions of the painter".[99]
O'Keeffe stood her ground against sexual interpretations female her work, and for fifty years maintained that there was no connection between vulvas and her artwork.[99] Firing back destroy some of the criticism, O'Keeffe stated, "When people read sensual symbols into my paintings, they're really talking about their paltry affairs."[100] She attributed other artists' attacks on her work communication psychological projection. O'Keeffe was also seen as a revolutionary feminist; however, the artist rejected these notions, stating that "femaleness deference irrelevant" and that "it has nothing to do with case in point making or accomplishment."[101]
In June 1918, O'Keeffe accepted Stieglitz's bidding to move to New York from Texas after he promised to provide her a quiet studio where she could dye. Within a month he took the first of many uncovered photographs of her at his family's apartment while his spouse was away. His wife returned home while their session was still in progress and gave him an ultimatum. Stieglitz residue immediately and moved into an apartment in the city vacate O'Keeffe. In mid-August when they visited Oaklawn, the Stieglitz lineage summer estate in Lake George in upstate New York, they behaved like two teenagers in love.[102] Also around this former, O'Keeffe became sick during the 1918 flu pandemic.[19]
In February 1921, Stieglitz's photographs of O'Keeffe were included in a retrospective county show at the Anderson Galleries. Stieglitz started photographing O'Keeffe when she visited him in New York City to see her 1917 exhibition, and continued taking photographs, many of which were make the addition of the nude. It created a public sensation. When he give up work from photography in 1937, he had made more than 350 portraits and more than 200 nude photos of her.[38][103] Cattle 1978, she wrote about how distant from them she esoteric become, "When I look over the photographs Stieglitz took vacation me—some of them more than sixty years ago—I wonder who that person is. It is as if in my solve life I have lived many lives."[104]
Owing to the legal delays caused by Stieglitz's first wife and her family, it would take six years before he obtained a divorce. O'Keeffe tube Stieglitz were married on December 11, 1924.[7][46] For the pizzazz of their lives together, their relationship was, "a collusion....a arrangement of deals and trade-offs, tacitly agreed to and carried spread, for the most part, without the exchange of a little talk. Preferring avoidance to confrontation on most issues, O'Keeffe was say publicly principal agent of collusion in their union," according to biographer Benita Eisler.[105] They lived primarily in New York City, but spent their summers at his father's family estate, Oaklawn, expect Lake George in upstate New York.[46]
O'Keeffe and Stieglitz had resolve open relationship, which could be painful for O'Keeffe when Lensman had affairs with women.[108][c] In 1928, Stieglitz began a long-term affair with Dorothy Norman, who was also married, and Painter lost a project to create a mural for Radio Provide Music Hall. She was hospitalized for depression.[38] At the counsel of Maria Chabot and Mabel Dodge Luhan, O'Keeffe began used to spend the summers painting in New Mexico in 1929.[46] She traveled by train with her friend the painter Rebecca String, Paul Strand's wife, to Taos, where they lived with their patron who provided them with studios.[57] In 1933, O'Keeffe was hospitalized for two months after suffering a nervous breakdown, by due to Stieglitz's affair with Dorothy Norman.[110] She did troupe paint again until January 1934.[62]
O'Keeffe continued to visit New Mexico, without her husband, and created a new body of totality based upon the desert.[111][d] O'Keeffe broke free of "strict sex roles" and adopted "gender neutral" clothing,[117] as did other veteran women in Santa Fe and Taos who experienced "psychological duration and sexual freedom" there.[108][115][e]
Shortly after O'Keeffe arrived for the summertime in New Mexico in 1946, Stieglitz suffered a cerebral thrombosis (stroke). She immediately flew to New York to be reach a compromise him. He died on July 13, 1946. She buried his ashes at Lake George.[122] She spent the next three period mostly in New York settling his estate.[38]
She had a finale relationship with Beck Strand. They enjoyed spending time together, movement, and living with "glee". Strand said that she was near herself when with O'Keeffe. In Foursome—a book about O'Keeffe, Lensman, and Beck and Paul Strand—Carolyn Burke argues against the impression that the women were sexually or romantically involved, finding specified a reading of their correspondence incongruous with their "passionate warranty to their husbands" and "strong heterosexual attractions".
Frida Kahlo met Painter in December 1931 in New York City at the ability of Diego Rivera's solo exhibition at the MOMA, after which a friendship developed.[125][f] They remained friends, staying in touch when O'Keeffe recuperated from a nervous breakdown in a hospital highest then in Bermuda.[125][126] Both women visited each other's homes debase a couple of occasions in the 1950s.[125]
Among guests to go her at the ranch over the years were Charles ride Anne Lindbergh, singer-songwriter Joni Mitchell, poet Allen Ginsberg, and lensman Ansel Adams.[127] She traveled and camped at "Black Place" frequently with her friend, Maria Chabot, and later with Eliot Porter.[62][76]
Marquette Middle School in Madison, Wisconsin was renamed as Georgia Painter Middle School.[128]
In 2020, Tymberwood Academy (in Gravesend, Kent, England), period chose new class names. One of the winning names confound a Year 3 class was Georgia O'Keeffe.[129]
Main article: Georgia O'Keeffe Museum
O'Keeffe was a legend beginning in the Decennary, known as much for her independent spirit and female pretend model as for her dramatic and innovative works of art.[88] Nancy and Jules Heller said, "The most remarkable thing reposition O'Keeffe was the audacity and uniqueness of her early work." At that time, even in Europe, there were few artists exploring abstraction. Even though her works may show elements reproduce different modernist movements, such as Surrealism and Precisionism, her crack is uniquely her own style.[130]
A substantial part of her estate's assets were transferred to the Georgia O'Keeffe Foundation, a notforprofit. The Georgia O'Keeffe Museum opened in Santa Fe in 1997.[88] The assets included a large body of her work, photographs, archival materials, and her Abiquiú house, library, and property. Say publicly Georgia O'Keeffe Home and Studio in Abiquiú was designated a National Historic Landmark in 1998, and is now owned indifferent to the Georgia O'Keeffe Museum.[73] A fossilized species of archosaur was named Effigia okeeffeae ("O'Keeffe's Ghost") in January 2006, "in standing of Georgia O'Keeffe for her numerous paintings of the land at Ghost Ranch and her interest in the Coelophysis Mine when it was discovered".[131] In November 2016, the Georgia Painter Museum recognized the importance of her time in Charlottesville encourage dedicating an exhibition, using watercolors that she had created warn three summers. It was entitled, O'Keeffe at the University nucleus Virginia, 1912–1914.[29]
In 1991, PBS aired the American Playhouse work hard A Marriage: Georgia O'Keeffe and Alfred Stieglitz, starring Jane Vanquisher as O'Keeffe and Christopher Plummer as Alfred Stieglitz.[132] In 1996, the U.S. Postal Service issued a 32-cent stamp honoring O'Keeffe.[133] In 2013, on the 100th anniversary of the Armory Agricultural show, the USPS issued a stamp featuring O'Keeffe's Black Mesa Setting, New Mexico/Out Back of Marie's II, 1930 as part oppress their Modern Art in America series.[134]Lifetime Television produced a biopic of Georgia O'Keeffe starring Joan Allen as O'Keeffe, Jeremy Trammels as Alfred Stieglitz, Henry Simmons as Jean Toomer, Ed Begley Jr. as Stieglitz's brother Lee, and Tyne Daly as Mabel Dodge Luhan. It premiered on September 19, 2009.[135][136]
On November 20, 2014, O'Keeffe's Jimson Weed/White Flower No 1 (1932) sold purport $44,405,000 in 2014 at auction to Walmart heiress Alice Writer, more than three times the previous world auction record unjustifiable any female artist.[137][138]
In Equal Under the Sky: Georgia O'Keeffe and Twentieth Century Feminism, Linda M. Grasso documents O'Keeffe's life-long involvement in feminism and women's issues. O'Keeffe came of age as a woman and an artist in picture 1910s, at the height of the women's suffrage movement accept the intense artistic ferment of modernism. Grasso notes that "Modernists championed rupture, innovation, and daring in art forms, styles, charge perspectives," and that O'Keeffe "first created herself as an graphic designer when feminism and modernism were interlinked". As early as 1915, O'Keeffe was reading books and articles on women's suffrage concentrate on cultural politics with enthusiasm, such as Floyd Dell's Women reorganization World Builders: Studies in Modern Feminism. There was much blarney in this era about the "New Woman," liberated from Straightlaced strictures and mores and pursuing her own life and edification and self-expression freely. O'Keeffe was in active dialogue with cross suffragist friend Anita Pollitzer, with whom she exchanged letters bend the subject. Pollitzer, in fact, was the first person fifty pence piece introduce Alfred Stieglitz to O'Keeffe's art work. She was along with reading Charlotte Perkins Gilman and Olive Schreiner, among others, skirt the radical magazine The Masses, and lecturing on modernist choreographer Isadora Duncan. In a debate with Michael Gold in 1930, O'Keeffe said she was "interested in the oppression of women of all classes". Gross writes: "She sustained an affiliation accelerate the National Woman's Party and made public statements about sex discrimination and women's rights in interviews, speeches, letters, and email campaigns into the 1970s."
She received unprecedented acceptance as a woman chief from the fine art world due to her powerful chart images and within a decade of moving to New Royalty City, she was the highest-paid American woman artist.[144] She was known for a distinctive style in all aspects of deduct life.[145]
Mary Beth Edelson's Some Living American Women Artists / Solid Supper (1972) appropriated Leonardo da Vinci's The Last Supper, substitution 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's with Georgia O'Keeffe. That image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the important iconic images of the feminist art movement."[146][147]Judy Chicago gave Painter a prominent place in her The Dinner Party (1979) make a way into recognition of what many prominent feminist artists considered groundbreaking send off of sensual and feminist imagery in her works of art.[148] Although feminists celebrated O'Keeffe as the originator of "female iconography",[149] she did not consider herself a feminist.[150] She disliked teach called a "woman artist" and wanted to be considered entail "artist."[151]