—hiking of, 97, 99, 115, 116, 118, 125, 266, 329, 347–48, 385–86, 390, 481, 540, 541
—homes of, 7, 18–19, 32, 120–21, 166, 183–86, 190–91, 234, 235, 241, 252–54, 257, 269, 278, 279, 311–12, 316, 334, 360, 364, 367, 369, 386, 387, 388, 389, 390–91, 395, 400, 401–2, 416–17, 420, 429, 431–32, 433, 437, 447, 484, 494, 528, 532, 542, 548, 549, 567n
—honors received by, 51, 375–76, 385, 397, 435, 449, 486, 491, 495, 497, 503, 506, 508, 509, 510, 517, 524, 526, 540, 544–45
—houseguests of, 435, 438, 440, 442, 444, 448, 454, 456, 458, 459–60, 463, 483, 485, 513–14, 532, 533–34
—independence of, 20, 184, 239, 242, 369, 372, 387, 388, 390, 444, 463, 506, 515, 527, 539–40
—intuitive nature of, 267, 404, 574n
O’Keeffe, Georgia (continued)
—library of, 437–38, 441
—life style of, 269, 400, 431, 440, 512
—marriage of, see Stieglitz, Alfred
—New Mexico sojourns of, 295–309, 321–24, 328–31, 338, 354–57, 360–62, 364–66, 369–73, 377, 386–88, 389–95, 398–99, 402–4, 406, 407, 415–17, 428–32, 434
—on other artists, 93, 95, 233, 318, 359, 362, 378, 399, 401, 404, 425, 446, 450, 452, 453–54, 497, 571n
—others’ portraits of, 49, 51, 159, 244, 254, 275, 291, 410, 558n
—pets adopted by, 349, 443, 448, 460, 462, 479, 483, 497, 514
—photographic portraits of, 6, 131, 161–64, 167, 168, 177–79, 181, 187, 193, 194, 195, 199, 200–201, 202, 205, 207, 208, 209, 216, 311, 325, 328, 337, 358, 370, 372, 399, 405, 408, 414, 423, 467, 482, 497, 501, 528–29, 567n, 569n
—physical appearance of, 21, 33–34, 35, 39, 46, 48, 74, 93, 122–23, 161, 177, 230, 254, 262–63, 367, 370, 409, 413, 497, 500, 501
—physical decline of, 539, 540–44, 545
—politics of, 143, 144, 317, 318, 332, 396, 399, 405, 448, 485, 565n, 579n
—publicity for, 6, 204–5, 213–14, 215, 282, 284, 374, 378, 497, 528, 529, 539
—public persona of, 3, 6, 193, 202–3, 369, 370, 381, 386, 443, 460, 499, 501–2, 512
—on racial issues, 436–37
—reading habits of, 101, 115, 120, 135, 248, 395, 474, 476, 481, 484
—romantic relationships of, 4, 5, 48, 52, 71, 74, 80–81, 96–97, 98, 99–101, 102–3, 104–5, 108–9, 114, 122, 124–25, 126–27, 130, 132, 134, 135, 136–40, 141, 144, 145–49, 151, 152–53, 157–72, 173–74, 184, 194, 305, 351, 352, 354, 381, 413, 433, 529–30, 538, 539, 567n, 581n
—self-centeredness of, 497, 519, 527
—solitude valued by, 20, 105, 122, 173, 177, 185, 221, 235, 249, 266, 293, 319, 320, 329, 354, 357, 369, 377, 485, 502, 532, 542
—spiritual beliefs of, 393, 438, 451, 469, 474–75, 479, 501
—on Stieglitz as photographer, 236, 263, 338, 423, 426–27, 466, 468
—studio spaces of, 158, 181, 186, 364, 390, 417, 432, 492
—as teacher, 4, 38, 43, 44, 74, 76, 79, 81–83, 91, 95, 97, 98, 108, 109, 110, 114, 117, 120, 123, 124, 128, 135, 144, 172, 214, 362, 447, 495, 563n
—travels of, 117, 140, 295–96, 342–43, 347–48, 353–54, 360, 366, 372, 377, 380–83, 385, 435, 440, 445–46, 449, 452–55, 460–62, 463, 464–65, 472–73, 478–79, 481–82, 483, 485, 486, 487, 493, 496, 502, 503, 514–15, 518, 520, 534, 537, 539
—vision problems of, 73, 198, 496, 504, 507–10, 514, 517, 519, 521, 522, 523, 527–28, 531, 533, 536n
—Western landscapes loved by, 79, 108, 118–19, 122, 140, 141, 182, 294, 297, 322, 330, 370, 389, 390, 394, 438, 485, 543
O’Keeffe, Georgia, as artist:
—abstractions of, 4, 12, 78, 102, 104, 114, 116, 128, 133, 135, 136, 164, 181, 182–83, 190, 198–99, 209, 219, 230, 275, 321, 404, 406, 414, 416, 434–35, 438, 468–69, 474, 477, 478, 484, 490, 520, 548, 561n
—aerial-inspired river shapes painted by, 473, 474, 477
—ambiguous orientation of works of, 219, 252, 254, 291, 299, 331
—Andean peaks as subject of, 461–62, 464
—art based on photos taken by, 483, 489–90
—art instruction received by, 24–25, 27–28, 29, 37–38, 39–42, 44, 45–47, 66, 76–79, 92, 212, 213, 320, 491, 497, 564n
—assisted works of, 521–23
—barns painted by, 36, 199, 211, 268, 288, 312, 343, 352
—bisected canvases of, 211, 219, 228
—Black Place paintings of, 12, 366, 394–95, 399–400, 403, 406, 408, 414, 434–35
—bones and horns in paintings of, 39, 124, 318, 325, 331–32, 335–36, 365, 371, 373, 378, 380, 403–4, 406–7, 408, 416, 428, 434, 463, 504
—on charcoal, 102
—childhood efforts of, 22, 23–25, 27–28, 29, 34, 35, 36, 557n
—churches painted by, 301–2, 315, 322–23, 329, 407
—cityscapes of, 12, 50, 119, 181, 191, 243, 253–54, 259–60, 269, 275, 280, 281–82, 292, 293–94, 316, 336, 340
—cloud motifs of, 219, 236, 315, 443, 479, 484, 487, 492, 496, 508
—collectors of, 183, 189, 212, 236, 274–75, 283, 378–79, 480, 524–25, 530, 536
—color sense of, 34, 36, 48, 92, 101, 111, 182–83, 210, 211, 219, 224, 230, 245, 247–48, 273, 281, 294, 312, 323, 346, 370, 371, 438, 450, 456, 474, 475, 496, 523, 586n
—commercial illustration work of, 4, 72–73, 76, 96, 104, 123, 141, 232, 318, 380, 383, 583n
—commissions received by, 141, 232, 340–41, 366, 374–75, 380, 383
—competitiveness of, 240, 342, 347, 443, 454, 483
—critical responses to, 106, 107, 112–13, 114, 129, 130, 182, 196–97, 201–3, 213–14, 216–17, 218, 223, 229–31, 244–45, 258–59, 261–62, 265, 273, 274, 276, 280–81, 292–93, 310–11, 316, 335, 345–46, 352–53, 358–59, 363, 373–74, 379, 380, 385, 414, 415, 444, 445, 468–69, 476, 485–86, 496, 497, 517n
—cross motifs of, 300–301, 302, 315, 316, 322–23, 343, 401, 451, 495
—dealers and, 112–13, 328, 340–41, 438–39, 480, 487–89, 524–25, 529, 530, 532
—door motifs of, 12, 117, 300, 429, 443, 445, 450, 454, 459, 462–63, 476–77, 522–23
—drawing resumed by, 353–54, 365, 408, 518
—emotions revealed by, 52, 99, 100, 105–6, 108, 112–13, 116–17, 136, 230, 245, 262, 267, 268, 293–94, 352
—enlargement used by, 178, 200, 240, 246, 252, 258, 406
—eroticism of, 12, 150, 164, 178, 201–3, 213, 216, 228, 265, 266, 273–74, 321, 354, 408, 563n, 572n
—exhibitions of, 4, 112–13, 115, 127, 129–30, 131, 195, 214–18, 227–29, 240, 242–45, 256, 258–59, 271, 272–74, 276, 280, 292–93, 313, 315–16, 326, 335, 345, 352–54, 358, 363, 373, 374, 375, 379–80, 384–85, 389, 396, 404, 407, 444, 445, 451, 459, 468, 477, 478, 480, 486, 490–91, 495–96, 503, 504, 505–6, 517, 548, 563n
—final unassisted paintings of, 520
—flower paintings of, 12, 24, 29, 36, 99, 101, 104, 168, 183, 198, 228, 239–40, 245–48, 252, 255, 258, 265–66, 273–74, 277–78, 290, 291, 292, 303, 317, 320–21, 324, 326, 333, 340–41, 342, 344, 345, 361, 364, 370, 372, 375, 376, 379, 380, 382, 386, 389, 443, 449, 464, 480, 526
—framing devices within compositions of, 384–85
—fruit studies of, 178, 188, 190, 199–200, 226–27, 289–90
—Hawaiian subjects of, 381–82, 383, 384, 385
—humor of, 197, 332, 335, 390
—Japanese influences on, 47–48, 50–51, 104, 277, 298, 459, 472, 475–76, 477, 479, 491
—kachina studies of, 329–30, 355, 360, 378, 390, 400
—Lake George painted by, 198, 211. 212. 219, 239, 267, 268, 320
—large canvases of, 366, 428–29, 450, 455–56, 479, 484, 487, 492–93, 496
—leaves as subject of, 12, 212, 226, 236–37, 251–52, 264, 267, 278, 291, 292, 312, 372, 376, 400
—local architecture painted by, 119–20, 150, 268, 299–302, 311–12, 322–23, 329, 343, 570n
—minimalist aesthetic of, 51, 472–73, 475–76
; —murals of, 340–41, 344, 366
—in museum collections, 7, 11, 12, 316–17, 353, 401, 493, 495, 532, 536, 547–48
—musical inspiration of, 110–11, 130, 164, 199, 209
—Native American motifs in work of, 41, 329–30, 355, 360, 361, 390
—New Mexico landscapes of, 12, 298–302, 315–16, 322–24, 329, 330, 356, 361, 364–66, 369, 371–72, 373, 377, 386–87, 389–90, 392, 393, 394–95, 399–400, 402, 403, 406, 407–8, 445, 449, 451, 463, 469, 476, 489–90, 491
—nude studies made by, 150
—obelisk motif of, 521, 523
—oil painting style developed by, 181–83
—other artists’ influence on, 85, 104, 131–32, 397, 456, 468, 485
—paint handling of, 131, 521–23, 560n, 564n
—painting expeditions of, 393–94, 395, 398, 406, 482
—paintings burned by, 451
—pastel work of, 211–12, 408, 447
—personal relevance in art of, 50, 268, 416, 419, 476–77
—photography as stylistic influence on, 4–5, 93, 111, 129, 134, 135–36, 139, 150, 178, 200, 240, 246, 251, 252, 259, 260, 302, 321, 387, 564n, 566n
—plein-air paintings of, 198, 330, 371, 393, 394–95
—popularity of, 7, 274, 374, 489, 506, 511, 518
—portrait work of, 25, 34, 43, 44, 96, 116, 118, 136, 376, 385, 401
—precise visual memory of, 23, 118
—productivity of, 47, 116, 324, 335, 349–50, 352, 360, 428, 434, 454, 455, 480, 486–87, 491, 496, 507, 565n
—professional commitment of, 24, 25, 36, 72, 74, 93, 95, 101, 169, 186, 190, 197, 214–15, 240, 262, 276, 326, 383, 433, 445, 490, 537, 538
—on realism, 200, 490
—reality vs. memory in work of, 125, 337, 518
—reproductions published by, 515
—retrospective shows of, 12, 400, 412–13, 415, 451, 455, 477, 478, 480, 490, 495–96, 503, 505–6, 558n
—sales of, 7, 129, 134, 183, 204, 211, 217, 218–19, 241, 255, 258, 259, 282–84, 316–17, 336, 341–42, 346, 353, 374, 378, 410–11, 442, 471, 480, 487–89, 493, 494, 525, 536, 567n, 576n
—sculptures of, 114, 415, 517, 528, 536, 537, 542, 563n
—seaweed as subject of, 185, 224, 278, 378, 572n
—self-assessments of, 413–14, 444, 449, 455, 476, 480, 481, 484, 504–5, 515, 518, 521, 528
—self-portraits of, 150, 268
—sexist reactions to, 195, 210–11, 229, 259, 317
—shells as subject of, 267–68, 274, 288, 289–90, 319, 334, 354, 355, 372, 377–78, 431
—skulls painted by, 331–32, 335–36, 361, 365, 371, 373, 378, 399, 455, 464
—“sky holes” of, 482, 493–94, 488, 504
—Stieglitz’s photographs of works of, 115, 218, 235–36
—stylistic development of, 103–4, 105–6, 118, 119, 135–36, 168, 181–83, 211–13, 231, 239–40, 273, 292, 293, 330–32, 336–37, 345–46, 359, 361, 404, 406–7, 450, 475, 477–78, 491, 492, 505, 515, 520
—sunsets and sunrises painted by, 119, 121, 139, 385
—surrealism and, 336–37, 373, 385, 403
—thematic series of, 47, 103–4, 136, 182, 237, 320–21, 475–77
—theoretical influences on, 4, 76–79, 82, 111, 119, 123, 127–28, 251, 277, 310, 336, 378, 438, 472, 475, 477, 542, 574n
—titles used by, 129
—trees as subject of, 146, 168, 190, 198, 212, 237, 251, 265, 278, 288–89, 291, 298–99, 302, 305, 312, 352, 353–54, 372, 387, 402–3, 407–8, 411, 416, 419, 430, 443–44, 445, 448–49, 450, 454, 518
—watercolor skills of, 93, 119, 139, 140, 181, 330, 468–69, 509, 515, 520
—white backgrounds used by, 46, 199, 455, 521–22
—work process of, 116, 182, 254–55, 260, 334, 363, 371, 472–73, 483–84, 492–93, 522
—works withheld by, 12, 99, 255, 408, 548
O’Keeffe, Ida Ten Eyck (sister), 177, 225, 231, 266, 309, 580n
—artwork of, 23, 82, 254, 279, 342, 457
—childhood of, 19, 24, 28, 31, 32, 43, 44, 76
—death of, 457
—family deaths and, 113, 173, 315
—as nurse, 82, 173, 251, 457
—romantic affair of, 239, 249–50, 254
—on Stieglitz, 240–41, 245
O’Keeffe, Ida Ten Eyck Totto (mother):
—death of, 113–14, 480
—family background of, 14, 16
—finances of, 30–31, 32, 38, 75
—household moves of, 30–31, 32, 37, 73, 74–75
—marriage of, 13, 17, 18, 29
—as mother, 18, 19, 21, 22–23, 25, 27, 28, 38, 498
O’Keeffe, Peter (uncle), 14, 18
O’Keeffe, Pierce (grandfather), 13, 15, 16, 18
O’Keeffe, Robert (nephew), 578n
Olitski, Jules, 468
Onassis, Jacqueline Kennedy, 538
Oppenheimer, J. Robert, 410, 447–48
Opportunity Gallery, 279, 289
Ornitz, Samuel, 249–50
Ornstein, Leo, 164, 189
Orozco, José Clemente, 342, 446
Owings, Margaret, 531–32
Owings, Nathaniel, Jr., 532
Owings, Nathaniel, Sr., 531, 532
Pach, Walter, 84, 279
Pack, Arthur, 357, 369, 371, 372, 387, 443
—Ghost Ranch run by, 356, 364, 386, 391, 458–59, 494
Pack, Eleanor Brown, 357
Pack, Phoebe Finley, 369, 371, 458, 459
Palo Duro Canyon, 118, 119, 125, 126, 356
Patio Door series, 12, 429, 443, 445, 459, 462–63, 476, 522–23
Patten, Christine Taylor, 540, 541, 543, 544, 571n
Paula (Stieglitz’s model and lover), 55–56
Pemberton, Murdock, 258–59, 281, 292
Peretta, Alice, 34, 79, 80
Peters, Gerald, 529, 542, 593n
Peters, Sarah Whitaker, 104
Philadelphia Museum of Art, 407, 425, 467, 532
Phillips, Bert G., 362
Phillips, Duncan, 211, 236, 258, 263–64, 270, 279
Phillips, Marjorie Acker, 264
Phillips Memorial Gallery, 263, 264, 368
photography:
—as art form, 52, 57, 64, 69–70, 77, 194, 204
—in color, 165, 246
—commercial, 380
—first fine-art gallery of, 52, 63–64
—flowers as subject of, 246
—modernist sensibility in, 133–34, 136
—museum exhibitions of, 368, 384, 400, 407, 411
—pictorial, 57, 69–70, 77, 132, 348, 411
—technology of, 57, 134, 165, 210
—women artists in, 5, 57, 62
Photo-Secessionists, 62, 64, 67, 70, 132, 218, 411
Picabia, Francis, 69, 84, 85, 88–89, 90, 93, 113
Picabia, Gabrielle, 90
Picasso, Pablo, 41, 65, 86, 134, 230, 401, 424, 427, 452
—in U.S. exhibitions, 4, 52, 66, 68, 69, 84, 89, 93, 195, 310, 384, 464, 560n
Pilkington, Betty, 454, 460, 461, 463, 464–65, 471, 479
Plagens, Peter, 496
Plaza Blanca (White Place), 330, 387, 393, 398, 401, 430, 493
Poling, John, 521–23
Pollitzer, Aline, 109
Pollitzer, Anita, 463, 584n
—background of, 99, 109
—biography of O’Keeffe written by, 460, 467, 468, 498–99, 519
—feminist politics of, 92, 101, 128–29, 264
—marriage of, 285
—O’Keeffe’s friendship with, 91–93, 96, 117, 460, 499
—O’Keeffe’s letters to, 95, 97, 98, 100, 101, 102, 103, 104, 105, 108, 114, 118, 124, 134, 458, 561n
—on O’Keeffe’s work, 93, 99, 105–6, 107, 115, 126, 127, 409
—pacificism of, 142, 143
—on Stieglitz, 120, 285
Pollitzer, Sigmund, 109
Pollitzer, William, 499
Pollock, Jackson, 450, 474
&n
bsp; Porter, Aline, 445–46, 465, 447, 494
Porter, Eliot, 6, 435, 445–47, 465, 481–82, 494
Posey, Joseph, 395
Posey, Mildred, 395
Powell, Earl A., III, 548
Prado Museum, 453–54, 455
Prang, Louis, 24, 25, 78, 81
precisionism, 241, 260, 336
Priest, Alan, 449, 454
Pritzlaff, Richard, 382, 398, 448, 455, 496, 502
Prosser, Frank, 325, 526
Prosser, Frank, Jr. “Bucky,” 287–88, 526
Prosser, Margaret, 287, 325, 349, 428, 526, 576n
Quinn, John, 83, 110, 195
Radio City Music Hall, 340–41, 344, 345, 446
Ram’s Head, White Hollyhock (O’Keeffe), 361, 365
Rancho de los Burros, 364, 369, 386, 434
Ranchos de Taos Church (Mission Church of Saint Francis de Asis), 301–2, 315, 322–23
Rauschenberg, Robert, 492
Ravagli, Angelo, 362
Ray, Man, 269, 321
Read, Helen Appleton, 230, 244–45, 260
Reagan, Ronald, 545
Red Hills with Pedernal (O’Keeffe), 364–65
Reed, Alma, 342
Reed, John, 86, 260
Regnault, Jacques, 502
Rehn, Frank, 295
Reid, Ruby Fowler, 124, 172
Reid, Ted, 124–25, 128, 130, 139, 140, 141, 143, 144, 157, 172, 362, 413, 505, 539, 568n
Renoir, Pierre Auguste, 179, 263
Rhoades, Katharine Nash, 94, 160, 270, 428, 561n
Rich, Bertha, 435, 483
Rich, Daniel Catton, 297, 407, 428, 435, 437, 483, 501, 510, 519
—on O’Keeffe’s estate, 509
—on O’Keeffe’s stylistic development, 401, 477–78, 505
—retrospective exhibitions organized by, 401, 477, 478
—on Stieglitz estate, 424, 447
Richards, Atherton, 381
Richter, Sviatoslav, 514
Richthofen, Manfred, 294
Ringel, Frederick, 341
Ritz Tower (O’Keeffe), 12, 282, 292
Rivera, Diego, 340, 386, 446
Robertson, Virginia, 510, 519
Robinson, Isabel, 362–63
Rockefeller, Abby Aldrich, 84, 328
Rockefeller, Godfrey, 372, 377
Rockefeller, Helen, 372, 377
Rockefeller, John D., 340, 356
Rockefeller, John D., Jr., 446
Rockefeller, Mrs. John D., 313, 375
Rodakiewicz, Henwar, 308, 323, 355, 357, 372, 400, 418, 430, 439
Rodin, Auguste, 61–62, 68, 162–63, 424
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