Georgia O'Keeffe: influences, peers and legacy

Every connection with its receipt

Georgia O'Keeffe built an American modernism out of Japanese-inflected design theory, Stieglitz's 291 circle, and the light of northern New Mexico. This mix traces the teachers and books that shaped her eye, the Taos world that claimed her, and the artists who took up her language of magnified nature and desert abstraction.

The Kynda mix for Georgia O'Keeffe

• Key Influence · Composition: A Series of Exercises in Art Structure by Arthur Wesley Dow (1899). O'Keeffe studied under Dow at Teachers College, Columbia, in 1914-15, and his manual reoriented her whole practice. Dow's Japanese-derived doctrine of notan, filled space and harmonious arrangement of line and mass told her a picture was designed rather than copied, which licensed the 1915 charcoal 'Specials' she mailed to Anita Pollitzer. Nearly every later cropped flower and hill obeys Dow's spacing exercises.
• Influencia Obscura · Nature Symbolized No. 2 by Arthur Dove (1911). Dove was the 291 painter O'Keeffe admired most; she saw his pastels at Stieglitz's gallery and later said his work spoke to her more directly than the Europeans'. His swelling organic abstractions, made from natural forms years before Kandinsky reached America, prefigure her method of distilling a plant or hill into pulsing curves. The two exhibited together repeatedly in Stieglitz's Intimate Gallery and An American Place.
• Local Roots · Edge of Taos Desert: An Escape to Reality by Mabel Dodge Luhan (1937). Luhan's Taos house is where O'Keeffe stayed in 1929 on the trip that turned New Mexico into her permanent subject; she painted the Ranchos de Taos church and the Lawrence pine tree from that base. Luhan's memoir recounts the same arrival to the high desert and her marriage into Taos Pueblo, mapping the Anglo-artist migration whose most famous product was O'Keeffe's Ghost Ranch decades of bones, cliffs and adobe.
• Beyond the Medium · Death Comes for the Archbishop by Willa Cather (1927). Cather's novel of a French bishop in New Mexico appeared two years before O'Keeffe's first Taos summer and shaped how a generation of Easterners imagined that landscape: mesas, adobe churches, juniper and an immense clarifying light. Both women were Midwestern-raised, worked from radical economy of detail, and were drawn to the same Southwest of pared-down form; Cather's prose landscapes read as verbal versions of O'Keeffe's cliffs.
• Peer · Portrait of a German Officer by Marsden Hartley (1914). Hartley was O'Keeffe's fellow Stieglitz artist, shown at 291 and An American Place, and he preceded her to New Mexico, painting its santos and mountains in 1918-19. His writings on her work appeared in the Stieglitz orbit's publications. This emblematic canvas shows the same instinct she had: flatten a subject into insignia-like shapes and let color carry the emotional weight without narrative.
• From the Canon · Ram's Head, White Hollyhock and Little Hills by Georgia O'Keeffe (1935). Painted from her Ghost Ranch years, this composition floats a bleached skull and a single hollyhock above the red hills, collapsing scale and gravity in one image. It fuses the two strands of her mature work, the desert bones she shipped back from New Mexico and the magnified blossom, and answers critics who read her flowers as merely erotic by placing the bloom in a landscape of death and immense dry light.
• Key Collaborator · Georgia O'Keeffe: A Portrait by Alfred Stieglitz (1917-1937). Stieglitz first exhibited O'Keeffe's charcoals at 291 in 1916, married her in 1924, and photographed her more than three hundred times: hands, torso, face against her own canvases. The composite portrait made her a public figure and framed the erotic reading of her painting she spent a lifetime disputing. No partnership in American art so thoroughly shaped both artists' careers and reputations.
• Legacy · The Dinner Party by Judy Chicago (1979). Chicago's installation seats thirty-nine women at a triangular table with vulvar porcelain plates, and O'Keeffe has a place setting among them. Chicago's central-core imagery drew explicitly on O'Keeffe's flowers as feminist precedent, an interpretation O'Keeffe herself resisted for decades. The piece is the clearest case of a later artist claiming her as an ancestor and rewriting her legacy in the process.

What influenced Georgia O'Keeffe

• Chase. Establishes that O'Keeffe studied under the artist Chase in New York before her career took off. “She had al ways wanted to be an art’at, and after studying with Chase in New York firured she had to make a living.” (Brownsville Herald (Brownsville, Tex.))
• Arthur Wesley Dow. Dow's teachings shaped O'Keeffe's early abstract style. (also via Composition: A Series of Exercises in Art Structure) “Influenced by Arthur Wesley Dow , she began to develop her unique style through her watercolors during her studies at the University of Virginia” (Wikipedia)
• Paul Strand. Paul Strand's photography influenced O'Keeffe's artistic approach. “Strand's photography, as well as that of Stieglitz, inspired O'Keeffe's work.” (Wikipedia)
• Precisionism. Her painting The Green Apple was inspired by the Precisionist movement. “Inspired by Precisionism , The Green Apple , completed in 1922, depicts her notion of simple, meaningful life.” (Wikipedia)
• Art Students League of New York. O'Keeffe trained under several named instructors at the Art Students League. “In 1907, she attended the Art Students League in New York City, where she studied under William Merritt Chase , Kenyon Cox , and F. Luis Mora.” (Wikipedia)
• William Merritt Chase. Chase was one of O'Keeffe's teachers. “she studied under William Merritt Chase , Kenyon Cox , and F. Luis Mora” (Wikipedia)
• Kenyon Cox. Cox was one of O'Keeffe's teachers. “she studied under William Merritt Chase , Kenyon Cox , and F. Luis Mora” (Wikipedia)
• F. Luis Mora. Mora was one of O'Keeffe's teachers. “she studied under William Merritt Chase , Kenyon Cox , and F. Luis Mora” (Wikipedia)
• School of the Art Institute of Chicago. O'Keeffe studied under John Vanderpoel at this institution. “From 1905 to 1906, O'Keeffe was enrolled at the School of the Art Institute of Chicago , where she studied with John Vanderpoel” (Wikipedia)
• John Vanderpoel. Vanderpoel was O'Keeffe's instructor at the Art Institute of Chicago. “where she studied with John Vanderpoel and ranked at the top of her class” (Wikipedia)
• Alon Bement. Bement taught O'Keeffe and introduced her to Dow's ideas. “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.” (Wikipedia)
• University of Virginia. O'Keeffe took classes at the University of Virginia. “She took a summer art class in 1912 at the University of Virginia from Alon Bement” (Wikipedia)
• Teachers College, Columbia University. O'Keeffe studied under Dow at Teachers College, Columbia University. “She also took a class in the spring of 1914 at Teachers College of Columbia University with Dow, who further influenced her thinking about the process of making art.” (Wikipedia)
• Isadora Duncan. O'Keeffe engaged intellectually with dancer Isadora Duncan's work. “She was also reading Charlotte Perkins Gilman and Olive Schreiner , among others, alongside the radical magazine The Masses , and lecturing on modernist dancer Isadora Duncan.” (Wikipedia)
• Composition: A Series of Exercises in Art Structure by Arthur Wesley Dow (1899). Composition: A Series of Exercises in Art Structure (Arthur Wesley Dow) — titan for Georgia O'Keeffe “Influenced by Arthur Wesley Dow, she began to develop her unique style through her watercolors during her studies at the University of Virginia and, more dramatically, through the charcoal drawings she produced in 1915 that marked her mo…” (en.wikipedia.org)
• Concerning the Spiritual in Art by Wassily Kandinsky (1911). Concerning the Spiritual in Art (Wassily Kandinsky) — titan for Georgia O'Keeffe (openlibrary.org)
• Nature Symbolized No. 2 by Arthur Dove (1911). Nature Symbolized No. 2 (Arthur Dove) — ghost for Georgia O'Keeffe “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen.” (en.wikipedia.org)
• Death Comes for the Archbishop by Willa Cather (1927). Death Comes for the Archbishop (Willa Cather) — culture for Georgia O'Keeffe (openlibrary.org)
• Leaves of Grass by Walt Whitman (1855). Leaves of Grass (Walt Whitman) — culture for Georgia O'Keeffe (openlibrary.org)
• The Bubble by Anne Brigman (1909). The Bubble (Anne Brigman) — ghost for Georgia O'Keeffe

Peers and kindred spirits

• Alfred Stieglitz (1864). Stieglitz sponsored and presented O'Keeffe's exhibition, establishing their professional connection. (also via Georgia O'Keeffe: A Portrait) “In 1924, Stieglitz arranged a show displaying O'Keeffe's works of art alongside his photographs at Anderson Galleries and helped to organize other exhibitions over the next several years.” (Wikipedia)
• 291 by Alfred Stieglitz. O'Keeffe's first solo show was held at Stieglitz's gallery 291. “O'Keeffe visited galleries, such as 291 , co-owned by her future husband, photographer Alfred Stieglitz.” (Wikipedia)
• Marsden Hartley (1877). O'Keeffe was part of the Stieglitz circle alongside Hartley. (also via Portrait of a German Officer) “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth , Arthur Dove , Marsden Hartley , John Marin” (Wikipedia)
• Frida Kahlo (1907). Kahlo and O'Keeffe developed a personal friendship after meeting at a Rivera exhibition. “Frida Kahlo met O'Keeffe in December 1931 in New York City at the opening of Diego Rivera 's solo exhibition at the MOMA, after which a friendship developed.” (Wikipedia)
• Mabel Dodge Luhan. O'Keeffe and Rebecca Strand were invited to New Mexico by Mabel Dodge Luhan, placing them in the same artistic scene. (also via Edge of Taos Desert: An Escape to Reality) “and I think they were invited by Mabel Dodge-Luhan” (On Assignment (public broadcasting))
• Yayoi Kusama (1929). Kusama corresponded with and sought advice from O'Keeffe. (also via Jimson Weed/White Flower No. 1) “following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice” (Wikipedia)
• Charles Demuth. O'Keeffe was part of the Stieglitz circle alongside Demuth. (also via I Saw the Figure 5 in Gold) “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth , Arthur Dove , Marsden Hartley , John Marin , and photographers Paul Strand and Edward Steichen.” (Wikipedia)
• Arthur Dove. O'Keeffe was part of the Stieglitz circle alongside Dove. (also via Nature Symbolized No. 2) “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth , Arthur Dove , Marsden Hartley , John Marin” (Wikipedia)
• Portrait of a German Officer by Marsden Hartley (1914). Portrait of a German Officer (Marsden Hartley) — peer for Georgia O'Keeffe “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen.” (en.wikipedia.org)
• Moonrise, Hernandez, New Mexico by Ansel Adams (1941). Moonrise, Hernandez, New Mexico (Ansel Adams) — collaborator for Georgia O'Keeffe “Among guests to visit her at the ranch over the years were Charles and Anne Lindbergh, singer-songwriter Joni Mitchell, poet Allen Ginsberg, and photographer Ansel Adams.” (en.wikipedia.org)
• Eugene Speicher (1883). Speicher's debut public work was a portrait depicting O'Keeffe, linking the two artists. “Eugene Speicher’s first bow to the public was a portrait of O'Keeffe.” (East St. Louis Daily Journal (East St. Louis, Ill.))
• Rebecca Strand. O'Keeffe traveled to New Mexico together with Rebecca Strand, wife of photographer Paul Strand. “So in the late 1920s she and Rebecca Strand, the wife of the photographer Paul Strand, came out to New Mexico together” (On Assignment (public broadcasting))
• Johnson Atelier. States the foundry/school cast works by the artist Georgia O'Keeffe. “aside from casting the works of famous artists such as George Georgia O'Keeffe students and staff get a chance to cast their own.” (A Closer Look (public broadcasting))
• West Texas State Normal College. O'Keeffe held a teaching post at this institution. “she became the chair of the art department at West Texas State Normal College , in Canyon, Texas , beginning in the fall of 1916.” (Wikipedia)
• Columbia College (South Carolina). O'Keeffe taught at Columbia College. “She taught at Columbia College in Columbia, South Carolina in late 1915, where she completed a series of highly innovative charcoal abstractions” (Wikipedia)
• Anita Pollitzer. Pollitzer connected O'Keeffe's work to Stieglitz, launching her career. “She mailed the charcoal drawings to a friend and former classmate at Teachers College, Anita Pollitzer, who took them to Alfred Stieglitz at his 291 gallery early in 1916.” (Wikipedia)
• John Marin. O'Keeffe was part of the Stieglitz circle alongside Marin. “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth , Arthur Dove , Marsden Hartley , John Marin” (Wikipedia)
• Edward Steichen (1879). O'Keeffe was part of the Stieglitz circle alongside Steichen. “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth , Arthur Dove , Marsden Hartley , John Marin , and photographers Paul Strand and Edward Steichen.” (Wikipedia)
• College of William & Mary. O'Keeffe received an honorary degree, marking institutional recognition. “In 1938, O'Keeffe received an honorary degree of "Doctor of Fine Arts" from the College of William & Mary.” (Wikipedia)
• American Academy of Arts and Letters. O'Keeffe became a member of this institution. “Later, O'Keeffe was elected to the American Academy of Arts and Letters” (Wikipedia)
• American Academy of Arts and Sciences. O'Keeffe became a Fellow of this institution. “in 1966 was elected a Fellow of the American Academy of Arts and Sciences” (Wikipedia)
• John Bruce Hamilton. Hamilton collaborated closely with O'Keeffe in her late career. “Hamilton taught O'Keeffe to work with clay, encouraged her to resume painting despite her deteriorating eyesight, and helped her write her autobiography.” (Wikipedia)
• Caroline Keck. Keck collaborated with O'Keeffe on conservation techniques. “Beginning in 1946, O'Keeffe worked with the painting conservator Caroline Keck to preserve the visual impression of her paintings.” (Wikipedia)
• Edward Hopper. Radiator Building — Night, New York (Georgia O'Keeffe) — peer for Edward Hopper (via Radiator Building — Night, New York) “Where Joseph Stella and Georgia O'Keeffe glamorized the monumental structures of the city, Hopper reduced them to everyday geometrics and he depicted the pulse of the city as desolate and dangerous rather than "elegant or seductive".” (en.wikipedia.org)
• Edge of Taos Desert: An Escape to Reality by Mabel Dodge Luhan (1937). Edge of Taos Desert: An Escape to Reality (Mabel Dodge Luhan) — geography for Georgia O'Keeffe “== New Mexico (1930s–1986) == By 1929, she traveled to Santa Fe for the first time, accompanied by her friend Rebecca (Beck) Strand and stayed in Taos with Mabel Dodge Luhan, who provided O'Keeffe and Strand with studios.” (en.wikipedia.org)
• I Saw the Figure 5 in Gold by Charles Demuth (1928). I Saw the Figure 5 in Gold (Charles Demuth) — peer for Georgia O'Keeffe “O'Keeffe came to know the many early American modernists who were part of Stieglitz's circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen.” (en.wikipedia.org)
• Georgia O'Keeffe: A Portrait by Alfred Stieglitz (1917). Georgia O'Keeffe: A Portrait (Alfred Stieglitz) — collaborator for Georgia O'Keeffe “Alfred Stieglitz, an art dealer and photographer, held an exhibit of her works in 1916.” (en.wikipedia.org)
• Black-on-black pottery by Maria Martinez (1920). Black-on-black pottery (Maria Martinez) — geography for Georgia O'Keeffe
• Godfrey Reggio. Ram's Head, White Hollyhock and Little Hills (Georgia O'Keeffe) — geography for Godfrey Reggio (via Ram's Head, White Hollyhock and Little Hills)

Who Georgia O'Keeffe influenced

• Judy Chicago. Chicago honored O'Keeffe's influence in her feminist artwork The Dinner Party. (also via Black Iris, The Dinner Party) “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.” (Wikipedia)
• The Dinner Party by Judy Chicago (1979). The Dinner Party (Judy Chicago) — legacy for Georgia O'Keeffe “This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement." Judy Chicago gave O'Keeffe a prominent place in her The Dinne…” (en.wikipedia.org)
• Juan Hamilton (1927). Hamilton describes a shared artistic vocabulary and mutual influence with O'Keeffe, comparing it to her relationship with Stieglitz. “I think we were probably in some ways as different as she as Stiglitz were but we had a similar vocabulary of forms which we communicated a great deal through.” (On Assignment (public broadcasting))
• Maria Morris Hambourg (1951). Met curator Maria Morris Hambourg cites Georgia O'Keeffe as a personal role model who influenced her career path. “O'Keeffe was certainly--for me personally she--she represented that. I ended up being a curator, of course, not being an artist.” (The NewsHour with Jim Lehrer (public broadcasting))
• Mary Beth Edelson. Edelson's Some Living American Women Artists/Last Supper depicted O'Keeffe as an iconic feminist artist figure. “Christ's with Georgia O'Keeffe. This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the most iconic images of the feminist art movement."” (Wikipedia)
• Some Living American Women Artists / Last Supper. The collage places O’Keeffe’s face over Christ’s. “Christ 's head is overlaid with that of Georgia O'Keeffe .” (Wikipedia)
• O'Kevelson. Edelson revised self-portraits in O’Kevelson to resemble O’Keeffe. “She created performance art using photographic works that involved body art, including O'Kevelson , shown in 1973, where her self-portraits were revised with a grease pencil until they resembled Louise Nevelson or Georgia O'Keeffe .” (Wikipedia)
• Linda Nochlin. Nochlin offered a critical interpretation of O'Keeffe's painting Black Iris III. (via Black Iris III) “Feminist art historian Linda Nochlin , the author of the influential 1971 essay titled " Why Have There Been No Great Women Artists? ", also interpreted Black Iris III (1926) as a morphological metaphor for a vulva.” (Wikipedia)
• Untitled #5 by Agnes Martin (1998). Untitled #5 (Agnes Martin) — legacy for Georgia O'Keeffe (wikidata.org)