Georgia O'Keeffe Posters Prints Fine Art Paintings

See a complete list of prints for sale at O'Keeffe Georgia

Red Canna Art Print

Oriental Poppies Art Print

Jimson Weed Art Print

From the Lake I Art Print

Poppy Art Print

Blue Morning Glories Art Print

Red Poppy Art Print

Lake George Autumn Art Print

Black Iris Art Print

Black and Purple Petunias Art Print

White Rose Lakspur No.2 Art Print

Orchid Los Angeles County Museum of Art Art

Pansy Art Print

Black Hollyhock Blue Larkspur Art Print

Blue River Art Print

Light Iris Art Print

Pedernal Art Print

Radiator Building at Night New York Art Print

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Georgia went to Town Hall School in Wisconsin where she had been given art lessons from a local painter, water colorist Sara Mann. O'Keeffe then went to high school at Sacred Heart Academy in Madison, Wisconsin, where she stayed at the school as a border through 1901-1902. In autumn 1902 the O'Keeffes left Wisconsin and relocated to Williamsburg Virgina's shore side. When the family moved, Georgia remained in Wisconsin with her aunt and went to Madison High School. She went to Virginia to be with her family in Williamsburg during 1903. Georgia finished high school as a roomer at Chatham Episcopal Institute in Virginia, graduatin in 1905. The women in Georgia's family were educated, and Georgia's mother was taught in the East. Each the daughters save one would become professional women, bearing witness to the Mother's influence upon them to succeed with a profession.

During 1905, O'Keeffe entered the School of the Art Institute of Chicago then followed this in 1907, by attending the Art Students League of New York City, a place she learned with painter William Merritt Chase. During 1908, O'Keeffe was awarded the League's William Merritt Chase still life award with her oil painting titled Dead Rabbit with Copper Pot. Her award was a scholarship to go to the League's open-air summer school at Lake George. While she had been in New York City in 1908, Georgia had gone to a showing of Rodin's watercolors at the 291 gallery, which was owned by the man that would become her future husband, famed photographer Alfred Stieglitz.

See a complete list of prints for sale at O'Keeffe Georgia

Abstraction White Rose Art Print

Two Jimson Weeds with Green Leaves and Blue Sky Art Print

Calla Lily Turned Away Art Print

Music Pink and Blue Art Print

Iris Art Print

Red Amaryllis Art Print

With the autumn of 1908, O'Keeffe had found herself to be disheartened with her art and did not go back to the League but instead relocated to Chicago. While in Chicago she took work as a commercial artist. Within this period, Georgia never took up a brush, and she is reported to have stated that the odor of turpentine made her ill. She would become an elementary school art instructor near Amarillo in the Texas Panhandle. O'Keeffe had been inspired to paint once again during 1912, as she had gone to a course at the University of Virginia Summer School, and was presented with the modern ideals of Arthur Wesley Dow by Alon Bement. Dow had encouraged artists to express themselves by balanced pieces and contrasts of light with darkness. His ideals both shaped and altered Georgia's thought as to the her personal methods of creating art. She later helped as a teaching assistant to Bement for numerous years, prior to going back to Texas where she joined the art department of the new West Texas A&M University in Canyon located south of Amarillo. With West Texas A&M University, O'Keeffe had worked as an art instructor. She had desired to be in Canyon since the natural beauty of the close great Palo Duro Canyon, which was a natural, magnificent sculpture created by the wind and the water.

Early in the year 1916, Anita Pollitzer carried a few of O'Keeffe's prints to Alfred Stieglitz at his 291 art gallery. He assured Anita the drawings equaled the "purest, finest, sincerest things that had entered 291 in a long while", as well as stated that he wanted show them in his gallery. O'Keeffe had initially gone to 291 in 1908, however not spoken with Stieglitz, even though she held great regard for his opinions as a critic. During April 1916 Stieglitz presented 10 of her drawings. O'Keeffe hadn't been informed prior to the exhibit that her works were to be displayed and just found out about the event when a friend told her. She faced Stieglitz for the first time about the drawings and agreed to allow them to stay. Georgia O'Keeffe's initial solo exhibit opened at 291 during April 1917. Many of the paintings included in her first exhibit had been watercolors of Texas landscapes and nature.

See a complete list of prints for sale at O'Keeffe Georgia

Abstraction White Rose Art Print

Two Jimson Weeds with Green Leaves and Blue Sky Art Print

Calla Lily Turned Away Art Print

Music Pink and Blue Art Print

Iris Art Print

Red Amaryllis Art Print

Following her reaching in New York, Stieglitz brought O'Keeffe to the Stieglitz family house at Lake George within the Adirondack Mountains. The pair would come back to the lake house every summer for years to follow. Georgia painted several art works of the Lake George country in those times.

Stieglitz set up O'Keeffe to be able to live in his niece's uninhabited studio apartment. Soon, he and O'Keeffe had fallen in love and Stieglitz left his wife, Emmeline, to move in with Georgia. Following his divorce in 1924, O'Keeffe and Stieglitz wed. They passed winter and spring in Manhattan as well as summertime and autumn at the Stieglitz family home in Lake George.

Stieglitz had begun shooting photos of O'Keeffe when she saw him in New York to as he came to view the progress of her exhibit held in 1917. Stieglitz kept on taking photos of her, shooting over 300 portraits from 1918 and 1937. Much of the more famous erotic poses had been from the years of their marriage. During February, 1921, 45 of Stieglitz's photographs, which includes several of O'Keeffe which had a few of her posing in the nude, had been presented in a retrospective exhibition at the Anderson Galleries. The pictures of O'Keeffe instantly caused a public sensation.

In those early days in New York City, O'Keeffe would meet numerous earlier American modernists who belonged to Stieglitz's group of friends. Strand's photography, Stieglitz, as well as several of her husband's photographer acquaintances, helped shape O'Keeffe's art. Shortly following her arrival in New York, Georgia started working primarily with oil, which would break her out of the pattern of having worked in watercolor with previous years paintings. From the mid1920s, O'Keeffe set out creating large pictures of natural shapes, seen at close range, as though the subjects are viewed by a magnifying lens. In the 1920s, O'Keeffe used both natural and architectural shapes as the topics depicted in her paintings. In 1924 she painted her initial large-scale flower art work, titled Petunia No. 2, that would be her first exhibited flower painting. It was presented in 1925. She rapidly finished further paintings, creating a substantial body of works using New York buildings as her themes.

Stieglitz proceeded to hold yearly exhibitions of O'Keeffe's art from 1923 forward. From the mid1920s, O'Keeffe had grown recognized as one of America's most significant artists. Her art demanded high prices; six of her calla lily pictures had been purchased for $25,000 US dollar in 1926, the greatest amount ever paid for a series of paintings by a living American painter. Both the paintings as well as the record sale price had attracted media to focus their attention on O'Keeffe like never before.

O'Keeffe began to develop an urge to journey and discover new inspirations for for paintings during 1928. Since she now had an annual exhibit to fill with art work, the requirements for this involved finding fresh material. Friends and aquatiences had been coming back from trips out to the American west with glowing reports, prodding O'Keeffe's want to search new locations even more. During May of 1929, she started out by train, accompanied by her friend Beck Strand, to Taos, New Mexico. This jaunt would prove to be one which altered her life.

During the summer of 1929, O'Keeffe traveled to New Mexico with Beck Strand. They visited Santa Fe as well as then Albuquerque. Shortly following their arrival, O'Keeffe and Strand had been asked to stop at Mabel Dodge Luhan's ranch outside of Taos during the summer. O'Keeffe took several pack trips exploring the tough mountains and also deserts of the area. On one jaunt she stopped by the D. H. Lawrence ranch and passed a few weeks with the famous author. When in Taos, New Mexico during 1929, O'Keeffe had gone to the historical mission church of Ranchos de Taos. Even though several painters had created art works of the church, O'Keeffe's picture of a shard of the mission wall silhouetted in a deep blue sky, capturing the church in a distinct manner.

Through 1929 and 1949, O'Keeffe began to spend a portion of almost each year painting in New Mexico. In her second summer in the southwest, she started collecting and painting bones, as well as began painting the regions characteristic natural architectural and landscape shapes. Every autumn she went back to New York.

During 1932 O'Keeffe had a nervous breakdown after an unfinished Radio City Music Hall mural project which had gotten behind schedule. She was admitted to the hospital in early 1933 and didn't paint again until January 1934. During the start of 1933 and 1934, Georgia O'Keeffe recovered in Bermuda then returned to New Mexico during the summer of 1934. That summer, she came across Ghost Ranch, an place north of Abiquiu, whose multicolored cliffs prompted several of her most celebrated landscape paintings. During 1940 she bought a home on the ranch land.

Having been a loner, O'Keeffe explored the land she admired by herself. She purchased a Model A Ford and asked other people to instruct her in driving. Following a especially aggravating time, one of her instructors announced that she was incapable of learning how to drive a car and it was on her her determination alone that she accomplish this goal.

During June of 1934 O'Keeffe traveled to Ghost Ranch for the first time and resolved instantly that she would make the ranch her home. It is set in a more remote region about one hundred twenty miles north of Albuquerque. Some guests to call on Georgia at her ranch were D. H. Lawrence, Charles and Anna Lindbergh, and the famous photographer Ansel Adams.

Between the 1930s and 1940s, O'Keeffe's repute and fame kept growing, gaining her several commissions. Her art was featured in exhibitions across the country. During 1936, Summer Days, a art work having a cattle skull ornamented with assorted wild flowers within a desert backdrop, was finished. It would be one of her most renowned paintings as well as one that became easily recognizable to the American public. Throughout the 1940s, O'Keeffe held two one person retrospectives, in the Art Institute of Chicago for 1943 while the second had been held during 1946 in the Museum of Modern Art in New York. This had been the first retrospective Museum of Modern Art had for a woman painter. O'Keeffe had also been presented honorary degrees by several universities, including the College of William and Mary in 1938. In the 1940s, the Whitney Museum of American Art sponsored an undertaking to set up the first catalog of her art.

O'Keeffe relocated to New Mexico for good in 1949. In the 1950s, Georgia created a set of art works of the architectural shapes of her adobe home in Abiquiu. A different, distinguishing painting of this period was seen in the 1958 painting titled Ladder to the Moon. With trips around the world Georgia took in the latter 1950s, she created an abundant series of paintings of clouds, such as is seen in the work Above the Clouds I. The cloud series had been inspired by her views from airplane windows as she looked down on to the clouds which covered the earth.

In 1962, O'Keeffe had been appointed to a 50 member American Academy of Arts and Letters. During the autumn of 1970, the Whitney Museum of American Art put on the Georgia O'Keeffe Retrospective Exhibition, the initial leading exhibit of her art since 1946, the year Stieglitz passed away. The Whitney Museum exhibit did a great deal to resurrect her public career. It as well helped Georgia, her art and her way of ife to earn the notice of a fresh generation of women brought up on the precepts of feminism.

During 1971 Georgia was aware that her eyesight was giving way. By the age of 84, she was suffering the loss of her mid vision, therefore just peripheral vision remained to her, an a permanent eye degeneration disease was discovered. She ceased completely painting during 1972. A young potter by the name of Juan Hamilton, showed up at Georgia's ranch home during 1973 searching employment. She employed him for a a couple of odd tasks and before long hired him full time. He would become her closest confidante, friend and business director up to her death.

O'Keeffe tried her hand with pottery herself, and owned a big kiln set up at the ranch for firing pots. Even with her poor vision, she had been inspired by Hamilton as well as other people to paint once more. She employed a studio helper for assistance an in this period agreed to take interviews. In 1976 she published a book on her painting, with Hamilton's assistance, and as well permitted a film crew to make a documentary on Ghost Ranch.

O'Keeffe grew more and more fragile in her later 90's. She relocated to Santa Fe where she passed away on March 6, 1986, by the age of 98. Per her directions, she had been cremated the following day. Juan Hamilton walked to the peak of the Pedernal Mountain and spread her ashes in the wind over the land she loved.

- Abstraction 1916
- Abstraction 1945
- Abstraction Blue 1927
- Abstraction with Curve and Circle 1916
- Abstraction 1930
- Abstraction, White Rose II 1927
- Alligator Pears 1923
- Another Place near Abiquiu 1930
- Antelope Head with Pedernal 1953
- Antelope Horns 1954
- Antelope 1954
- Autumn Trees, The Maple 1924
- Bell Cros Ranchos Church, New Mexico 1930
- Bell, Cross, Ranchos Church, New Mexico 1930
- Belladonna Two Jimson Weeds 1939
- Birch and Pine Tree, Pink 1925
- Black Cross with Stars and Blue 1929
- Black Cross, New Mexico 1929
- Black Iris II Black Iris IV
- Black Iris III 1926
- Black Patio Door, Small 1955
- Black Place No.IV
- Black Place, Grey and Pink 1949
- Black Rock with Red 1971
- Bleeding Heart 1932
- Blue and Green Music 1921
- Blue II 1917
- Blue II 1958
- Blue Line 1919
- Blue morning glory 1936
- Blue Sand
- Blue-Headed Indian Doll 1935
- Broken Shell, Pink 1937
- Calla Lilies with red Anemone 1928
- Calla lilies 1930
- Calla Lily in Tall Glass II 1925
- Calla Lily with Red Roses 1926
- Calla Lily, White with Black 1927
- Canna Leaves 1925
- Canna c.1922 46x33
- Canna, Red and Orange 1922
- Cannas 1919
- Cannas 1924
- Cedar and red Maple, Lake George 1921
- Corn II 1924
- Corn No.III 1924
- Cottonweed Trees in Spring 1943
- Cow's Skull With Calico Roses 1931
- Cross 1929
- Dark Iris III 1927
- Drawing V 1959
- Dry Waterfall, Ghost Ranch 1940
- Evening 1916
- Evening Star VII 1917
- Fig 1923 21x15.2
- Flying Backbone
- From the Plains 1919
- Gerald's Tree I 1937
- Ghost Ranch Cliff 1940
- Ghost Ranch Cliffs 1952
- Graey Hills, New Mexico 1930
- Green and White Waterfall 1957
- Green Leaves
- Green Lines and Pink 1919
- Green Mountains, Canada 1932
- Head with Broken Pot 1943
- Horse's Skull with White Rose 1931
- In the Patio VIII 1950
- It was yellow & pink I 1959
- Jimson Weed 1932
- Jimson Weed 1932
- Kachina 1945
- Kokopelli with Snow 1942
- Lake George Autumn 1922
- Lake George Reflections c.1921
- Lavender Iris 1952
- Like Misti, A Memory 1957
- Little Barn 1932
- Little House with Flagpole 1925
- Maple and Cedar, Lake George 1920
- Mask with golden Apple
- Mt. Fuji 1961
- Mule's Skull with Pink Poinsettias 1936
- Music - Pink and Blue II 1919
- My Autumn
- My Last Door 1954
- Oriental Poppies 1928
- Out Back of Marie's II 1930
- Out Back of Marie's 1930
- Pansy 1926
- Patio Door 1946
- Patio Door with Green Leaf 1956
- Pedernal from the Ranch #11
- Pedernal, Blue and Yellow 1941
- Pelvis IV 1944
- Petunia and Coleus Leaf 1925
- Petunia II 1924
- Petunias in Oval, No.2 1924
- Pink and Blue Mountain 1917
- Pink and Green 1960
- Pink and Yellow Flowers 1927
- Pink Petunias in a White Glass 1925
- Pink spotted Lilies 1936
- Piñons with Cedar
- Purple Petunia c.1925
- Ram's Head, Blue Morning Glory 1938
- Ranchos Church 1929
- Red and Pink Rocks and Teeth 1938
- Red and Pink 1925
- Red Apple on Blue Plate 1922
- Red Cannas 1927
- Red Gladiola in White Vase 1928
- Red Hills and White Cloud
- Red Hills With Flowers 1937
- Red Hills with Pedernal, white Clouds 1936
- Red Hills with White Flower 1937
- Red pear with fig 1923
- Red pepper, green Grapes 1928
- Reddish purple barn from the front-end view
- Ritz Tower, Night
- Road to the Ranch Road Past the View I 1964
- Road to the Ranch 1964
- Series I, 12 1920
- Shell II 1928
- Sky Above Clouds I 1963
- Special XVII 1919
- Special XXII 1916
- Still Life of an Egg-plant in Bowl
- Street, New York I 1926
- Stump in Red Hills 1940
- Summer Days 1936
- Sunflower
- Sunset, Long Island 1939
- Tan, Orange, Yellow, Lavender 1959
- Taos, New Mexico 1931
- The Barns, Lake George 1926
- The Black Place 1943
- The Patio No.1 1940
- The Radiator Building at Night 1927
- The Red Marple at Lake George 1926
- The Shelton With Sunspots, New York 1926
- The White Birch-Lake George 1925-1926
- Three pears 1924 46x31
- Trees Abiquiu IV 1951
- Trees at Glorieta, New Mexico 1929
- Two austrian Copper Roses III 1957
- Two Calla Lillies on Pink 1928
- Two dark Alligator Pears on Green 1923
- Untitled Flower in Vase Primula 1930
- Untitled Ghost Ranch Landscape 1940
- White Calla Lily with Red Background 1928
- White Hill and Black 1928
- Winter Cottonwoods East V 1954
- Winter Tree III 1953
- Wisconsin Barn 1928
- Yellow Cottonwood 1946
- Yellow Hickory Leaves with Daisy 1928