About us
Artists Georgia O'Keeffe
Georgia O'Keeffe Photo

Georgia O'Keeffe

American Painter

Movements and Styles: American Modernist Painting, Proto-Feminist Artists

Born: November 15, 1887 - near Sun Prairie, Wisconsin

Died: March 6, 1986 - Santa Fe, New Mexico

Georgia O'Keeffe Timeline


"I said to myself 'I have things in my head that are not like what anyone has taught me- shadows and ideas so near to me - so natural to my way of being and thinking that it hasn't occurred to me to put them down.' I decided to start anew, to strip away what I had been taught."
Georgia O'Keeffe
"It is easier for me to paint it than to write about it and I would so much rather people would look at it than read about it. I see no reason for painting anything that can be put into any other form as well."
Georgia O'Keeffe
"Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my efforts to create an equivalent with paint color for the world, life as I see it."
Georgia O'Keeffe
"I have but one desire as a painter - that is to paint what I see, as I see it, in my own way, without regard for the desires or taste of the professional dealer or the professional collector. I attribute what little success I have to this fact. I wouldn't turn out stuff for order, and I couldn't. It would stifle any creative ability I possess."
Georgia O'Keeffe
"Nothing is less real than realism. Details are confusing. It is only by selection, by elimination, by emphasis, that we get at the real meaning of things."
Georgia O'Keeffe

"When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else."


Georgia O'Keeffe played a pivotal role in the development of American modernism and its relationship to European avante garde movements of the early-20th century. Producing a substantial body of work over seven decades, she sought to capture the emotion and power of objects through abstracting the natural world. Alfred Stieglitz identified her as the first female American modernist, whose paintings of flowers, barren landscapes, and close-up still lifes have become a part of the mythology and iconography of the American artistic landscape.

Key Ideas

O'Keeffe incorporated the techniques of other artists and was especially influenced by Paul Strand's use of cropping in his photographs; she was one of the first artists to adapt the method to painting by rendering close-ups of uniquely American objects that were highly detailed yet abstract.
O'Keeffe did not follow any specific artistic movement, but like Arthur Dove she experimented with abstracting motifs from nature. She worked in series, synthesizing abstraction and realism to produce works that emphasized the primary forms of nature. While some of these works are highly detailed, in others, she stripped away what she considered the inessential to focus on shape and color.
Through intense observation of nature, experimentation with scale, and nuanced use of line and color, O'Keeffe's art remained grounded in representation even while pushing at its limits. From the 1940s through the 1960s in particular, O'Keeffe's art was outside the mainstream as she was one of the few artists to adhere to representation in a period when others were exploring non-representation or had abandoned painting altogether.

Most Important Art

Georgia O'Keeffe Famous Art

Petunia No. 2 (1924)

Petunia No. 2, one of O'Keeffe's first large-scale renderings of a flower, represents the beginning of her exploration of a theme that would mark her career. In this painting, she magnifies the flower's form to emphasize its shape and color. She stated that "nobody really sees a flower - really - it is so small - we haven't time - and to see takes time... So I said to myself - I'll paint what I see - what the flower is to me but I'll paint it big and they will be surprised into taking time to look at it." Her flower images often received interpretations that O'Keeffe disagreed with, particularly from feminist critics who saw these paintings as veiled illusions to female genitalia. For O'Keeffe, there was no hidden symbolism, just the essence of the flower. In fact, the anatomy of the petunia is incredibly detailed, and O'Keeffe may have been emphasizing the androgyny of the reproductive parts in order to counter the idea that her subject matter was connected to her gender. Though American and European artists had experimented with abstraction for at least a decade, O'Keeffe, like Dove, focused on images from nature and O'Keeffe was the only artist to consistently use flowers as a motif.
Read More ...

Georgia O'Keeffe Artworks in Focus:


Childhood and Early Training

Georgia O'Keeffe was born near Sun Prairie, Wisconsin in 1887, the second of seven children. She received early encouragement to study art from her mother and took watercolor lessons from a local artist, Sara Mann. O'Keeffe came from a family where female education was stressed and she was fortunate to attend the School of the Art Institute of Chicago from 1905 to 1906 where she studied with John Vanderpoel.

Georgia O'Keeffe Biography

In the fall of 1907, O'Keeffe moved to New York City and attended classes at the Art Students League, studying under the artist-teacher William Merritt Chase. A prize she won for one of her still lifes, allowed her to attend the League's summer school in Lake George, New York. While in NYC, she frequented exhibitions at Gallery 291, which was owned by photographer Alfred Stieglitz and was one of the few places in the United States where European avant-garde art was exhibited. For the first time O'Keeffe was exposed to popular European artists, such as Auguste Rodin and Henri Matisse. She abandoned the pursuit of art as a career in 1908 for four years, taking a job in Chicago as a commercial artist.

She began focusing on her art again in 1912, after attending a drawing class at the University of Virginia's summer school. Her teacher, Alon Bement, professed an innovative teaching style that was heavily influenced by the artist Arthur Wesley Dow. While teaching at Columbia College in South Carolina in 1915, O'Keeffe began to experiment with Dow's theory of self-exploration through art. She took natural forms, such as ferns, clouds, and waves, and began a small series of charcoal drawings that simplified them into expressive, abstracted combinations of shapes and lines. After completing this series, O'Keeffe mailed a few of them to her friend Anita Pollitzer, a former classmate, who brought the drawings to the attention of Alfred Stieglitz in January 1916.

Mature Period

Recognizing her potential, Stieglitz began a correspondence with O'Keeffe. Unbeknownst to O'Keeffe, he exhibited ten of her charcoals at his Gallery 291. He sent her photographs of her drawings on exhibit and this began their professional relationship. While O'Keeffe continued to teach, she returned to New York in 1917 to view her first solo exhibition, arranged by Stieglitz at 291. During this time, O'Keeffe and Stieglitz began a love affair that would last until his death. In 1918, Stieglitz offered to financially support O'Keeffe for one year so that she could live and paint in New York. She took a leave of absence from her teaching position and for the first time dedicated herself solely to making art. Stieglitz divorced his first wife, and he and O'Keeffe married in 1924.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Georgia O'Keeffe Biography Continues
Georgia O'Keeffe Photo

During the 1920s, Stieglitz introduced O'Keeffe to his friends and fellow artists - the Stieglitz Circle - that included Marsden Hartley, Arthur Dove, John Marin, and Paul Strand. Stieglitz and his Circle, as they were called, championed modernism in the United States. O'Keeffe was profoundly influenced by Strand's photography and the camera's ability to behave like a magnifying lens, as well as Charles Sheeler's Precisionism. Following these interests, she began making large-scale paintings of natural forms at close range, and, during this time, also switched from watercolors to oil paint. In addition to flowers, O'Keeffe depicted New York skyscrapers and other architectural forms. By the mid-1920s, O'Keeffe was recognized as one of the most significant American artists of the time and her art began to command high prices.

O'Keeffe's fascination with the landscape of New Mexico began in 1929, when she was a guest of famous arts patron, Mabel Dodge Luhan, at Dodge's ranch near Taos. O'Keeffe became enamored with New Mexico's landscape of vistas and barren land, returning every summer until 1949 to paint. Works produced from this landscape captured the beauty of the desert, its vast skies, distinctive architectural forms, and bones, which she collected in the desert. O'Keeffe's eventual purchase of two properties in New Mexico further connected her to the land.

During the 1930s and 1940s, O'Keeffe's popularity continued to grow and she was honored with two important retrospectives, the first in 1943 at the Art Institute of Chicago and the second in 1946 at the Museum of Modern Art, their first retrospective of work by a woman.

Late Years and Death

Georgia O'Keeffe Portrait

In 1949, three years after Stieglitz's death, O'Keeffe moved permanently to New Mexico. In the 1950s, she produced a series of works that featured the architectural forms of her patio wall and door at Abiquiu, one of her two homes near Santa Fe. O'Keeffe began to travel extensively, gathering inspiration for her work. She received many accolades, including membership in the American Academy of Arts and Letters, the Medal of Freedom, and the National Medal of Arts. Despite waning popularity in the 1950s and 1960s, a retrospective held by the Whitney Museum of American Art in 1970 revived her career and brought her to the attention of a new generation of women in the era of feminism. Despite failing eyesight, O'Keeffe continued to produce art, working in watercolor, pencil, and clay throughout the 1970s. Although she had lost her central vision by the age of 84, she continued to paint. Her last paintings consist of simple abstract lines and shapes and hearken back to her early charcoal drawings.


Georgia O'Keeffe spent 70 years making art and contributing to the development of American modernism. She was a prominent member of the creative Stieglitz Circle, influencing early American modernists. She is notable for her role as a pioneering female artist, and although she disavowed their interpretation of her work, she was a strong influence on the artists of the Feminist art movement, including Judy Chicago and Miriam Shapiro, who saw feminine imagery in O'Keeffe's flower paintings. A prolific artist, she produced more than 2000 works over the course of her career. The Georgia O'Keeffe Museum in Santa Fe is the first museum in the United States dedicated to a female artist, and its research center sponsors significant fellowships for scholars of modern American art.

Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Georgia O'Keeffe
Interactive chart with Georgia O'Keeffe's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart


Arthur Wesley DowArthur Wesley Dow
Alon BementAlon Bement
Auguste RodinAuguste Rodin
Wassily KandinskyWassily Kandinsky

Personal Contacts

Charles SheelerCharles Sheeler
Alfred StieglitzAlfred Stieglitz
Paul StrandPaul Strand
Arthur DoveArthur Dove


Asian ArtAsian Art
Art NouveauArt Nouveau
Modernism and Modern ArtModernism and Modern Art

Influences on Artist
Georgia O'Keeffe
Georgia O'Keeffe
Years Worked: 1907 - 1984
Influenced by Artist


Judy ChicagoJudy Chicago
Andy WarholAndy Warhol

Personal Contacts

Alfred StieglitzAlfred Stieglitz
Paul StrandPaul Strand
Arthur DoveArthur Dove


American Modernist PaintingAmerican Modernist Painting
Feminist ArtFeminist Art

If you see an error or typo, please:
tell us
Cite this page

Content compiled and written by The Art Story Contributors

Edited and published by The Art Story Contributors

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
Available from:
[Accessed ]

By submitting the above you agree to The Art Story privacy policy.

Useful Resources on Georgia O'Keeffe






The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
Georgia O'Keeffe A Portrait by Alfred Stieglitz

By Alfred Stieglitz


Portrait of an Artist: A Biography of Georgia O'Keeffe

By Laurie Lisle

Georgia O'Keeffe: A Life

By Roxana Robinson

More Interesting Books about Georgia O'Keeffe
Before the Desert, A Greener Side

By Jesse McKinley
The New York Times
August 8, 2013

Stieglitz and O'Keeffe: Their Love and Life in Letters

By Susan Stamberg
July 21, 2011

In Full Flower, Before the Desert Recomended resource

By Holland Cotter
The New York Times
September 17, 2009

Painting a New Picture of Georgia O'Keeffe

By Candace Jackson
The Wall Street Journal
September 3, 2009

More Interesting Articles about Georgia O'Keeffe
Did we succeed in explaining the art to you?
If Yes, please tell others about us: