Georgia O'Keeffe

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Georgia O'Keeffe was born November 15, 1887, in Sun Prairie, Wisconsin. She had six brothers and sisters. They were Francis, Alexis, Ida, Anita, Katherine, and Claudio. Two of her sisters took up painting, while her oldest brother became an architect. When only 1 years old, Georgia decided that she was going to become a painter. Feeling that she grew up feeling that she was different from her siblings helped her make up her mind. What led Georgia into her art career, was her interest in the American Southwest and nature. You can see her expression for her love in her famous paintings of animal skulls, deserts and flowers. She uses many vibrant colors, free-flowing strokes, and abstract thoughts in them.

During her lifetime, both World War 1 and were going on. Georgia's family moved to Williamsburg, Virginia when she was 14, and attended she attended the Sacred Heart Academy and High School. She then graduated from The Chatham Protestant Episcopal Institute in 104 and moved to Chicago to seek her study of painting with John Vanderpoel at the Art Institute. After a fight with typhoid fever, she transferred over to the Arts Students League in New York in 107-108 and won a prize for a still life of a rabbit in a copper pot. She felt uninspired and discouraged, so she gave up painting for awhile. She lived in Chicago and did freelance commercial artwork in 10, and then accepted a teaching post in the public schools of Amarillo, Texas. Her teaching also brought her to the University of Virginia summer school and Columbia College in South Carolina.

In the summer of 115 while taking classes at Teachers College of Columbia University, Georgia studied art under Arthur Dow. Supplied with new knowledge and creative enthusiasm, Georgia returned to Texas to head the art department of West Texas State Normal College at Canyon, and began to execute vibrant canvases. That same year, Georgia decided to send a roll of her charcoal drawings to Anita Pollitzer, a friend in New York who she had roomed with at the Teachers College. But that turned about to be a fateful mistake. Georgia's specific instructions were to not show the drawings to anyone. Pollitzer brought them to a photographer and owner of the cutting edge 1. Without Georgia's permission, Alfred Stieglitz exhibited 10 of her drawings in his fashionable Fifth Avenue gallery in April of 116. While she continued to work on her canvases in Texas, little did she know of the significant sound she was creating in New York City's art world. She finally found out by a friend and confronted Stieglitz. He convinced her to let her pictures hang, and that there began an almost 0-year personal and professional relationship.

Stieglitz encouraged Georgia's paintings so much that he eventually convinced her to move to New York and spend all her time and energy at her art work. She arrived in 118, and immediately began a relationship with Stieglitz. Although the two came from very different backgrounds, O'Keeffe's difficult, reserved manner stood in simple difference to Stieglitz's social ignorance. Georgia continued to develop her style, which she painted the exciting and silky interior landscapes of massive flowers, and dramatic. Stiglitz, being very inspired, took over 00 portraits of Georgia between 118 and 17, which then created a powerful story out of her striking but slightly masculine beauty.

O'Keeffe and Stieglitz were married in 14, and in 18 O'Keeffe sold a Calla Lily painting for $5,000. That proved to her and to the world that a woman artist could obtain financial success. Though, she began to feel obliged by New York's atmosphere and needed fresh inspiration from new landscapes. Changing her life forever, Georgia went back west with her friend Beck Strand for a vacation in Taos, New Mexico. She welcomed what New Mexico had to offer - seemingly infinite space and wide, rugged views where she could see the weather changing miles away. She returned to New Mexico every summer.

After Stieglitz's death from a cerebral thrombosis in 146, O'Keeffe took up permanent residence in the town of Abiquiu, New Mexico, and purchased a second home�the legendary Ghost Ranch�16 miles away. Although she had a major retrospective at the Art Institute of Chicago in 14, as well as an exhibit at the Museum of Modern Art, O'Keeffe almost completely withdrew from public life. She traveled extensively to Mexico, South America, Europe, and Asia�something she never did during her time with Stieglitz, who had preferred to stay in New York.

As O'Keeffe's eyesight began to fail by 171, she gradually gave up painting. A new part in her life began on one autumn day in 17 when Juan Hamilton, a young potter, appeared at her door looking for work. He encouraged her to start painting again, and helped her write a book on her art and assisted in organizing a film crew that was shooting a documentary at Ghost Ranch in 176.

O'Keeffe died on March 6, 186, at St. Vincent's Hospital in Santa Fe at the age of 8. Her passion for her natural environment and her consistent spirit are reflected in a quote "When I think of death, I only regret that I will not be able to see this beautiful country anymore …unless the Indians are right and my spirit will walk here after I'm gone."

I am choosing to do Georgia's painting entitled Purple Petunias. I am doing this painting because I wanted to choose a picture that reflected her vibrant colors that she used her love for nature, and her abstract ideas. When you first look at the picture, you think well it is just a picture of a purple flower. But if you have an open mind, you can see that she uses many different colors of purple, don't see it's brush strokes, and has both warm and cool tones to it. This painting was done in 15, when she was about 8. The painting is not really about petunias. What's more important then the flower, is the sense of the glory of life. If you closely look at the petunia, you can see that O'Keeffe had abstracted it and that the individual parts look like other organic things, such as folds of skin. The painting suggests universal forces and reproduction. It also reflected its period of the 10s. The 0s were known as the Roaring 0s, when Victorian morality had been replaced by an open discussion of sex and the body. D.H. Lawrence, whose sexually explicit books were often banned in the United States, inspired O'Keeffe. The books contain lengthy passages in which a character looks intensely at a single flower in a field, reflecting the wonders of life.

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