Full Bloom

by Hunter Drohojowska-Philp

  —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