The time is 1887. From any window in Georgia O’Keeffe’s Sun Prairie, Wisconsin birthplace home she only saw the Wisconsin prairie with its traces of roads veering around the flat marshlands and a vast sky that lifted her soul. At twelve years of age Georgia had a defining moment when she declared, “I want to be an artist.” Years later from her east-facing window in Canyon, Texas she observed the Texas Panhandle sky with its focus points on the plains and a great canyon of earth history colors streaking across the flat land. Georgia’s love of the vast, colorful prairie, plains and sky again gave definition to her life when she discovered Ghost Ranch north of Abiquiu, New Mexico. She fell prey to its charms which were not long removed from the echoes of the “Wild West.” These views of prairie, plains and sky became Georgia’s muses as she embarked on her step-by-step path with her role models—Alon Bement, Arthur Jerome Dow and Wassily Kandinsky. In this two-part biography of which this is Part I covering the period 1887–1945, Nancy Hopkins Reily “walks the Sun Prairie Land,” as if in Georgia’s day as a prologue to her family’s friendship with Georgia in the 1940s and 1950s. Reily chronicles Georgia’s defining days within the arenas of landscape, culture, people and the history surrounding each, a discourse level that Georgia would easily recognize.

The time is 1946. From Georgia O’Keeffe’s old hacienda sitting on a bluff in Abiquiu, New Mexico, she could see my aunt and uncle, Helen and Winfield Morten’s property across the Chama River. Georgia had begun the restoration of her property. The Mortens, in the final stages of purchasing land along the Chama River, had recently completed their restoration of another old hacienda they called Rancho de Abiquiu. As one of few Anglos in the Chama River valley, Georgia ventured over to Rancho de Abiquiu to introduce herself and a private friendship resulted with the Mortens and their family. In this close family circle, Georgia revealed herself and proved that beneath her bare face there was more to her than just an artist of legendary proportions. Nancy Hopkins Reily spent many of her childhood days walking the Abiquiu and Ghost Ranch land. She explored the canyons, the White Place, Echo Amphitheater, the mountains, and the Chama River by walking the trails worn by earlier moccasined feet. In a seamless, clear, and straightforward narrative of excerpts from their lives, Reily presents Georgia in a time-window of her age. The book features Reily’s youthful experiences, letters from Georgia, glimpses of the family’s memorabilia and photographic snapshots—all gracefully woven into the forces of the contemporaneous scene that shaped their friendship. In addition, there are insights into the land’s beauty, times, culture, history and the people who surrounded Georgia, as well as many minute details that should be remembered and which are often overlooked by others when they speak of Georgia O’Keeffe.

The time is 1887. From any window in Georgia O’Keeffe’s Sun Prairie, Wisconsin birthplace home she only saw the Wisconsin prairie with its traces of roads veering around the flat marshlands and a vast sky that lifted her soul. At twelve years of age Georgia had a defining moment when she declared, “I want to be an artist.” Years later from her east-facing window in Canyon, Texas she observed the Texas Panhandle sky with its focus points on the plains and a great canyon of earth history colors streaking across the flat land. Georgia’s love of the vast, colorful prairie, plains and sky again gave definition to her life when she discovered Ghost Ranch north of Abiquiu, New Mexico. She fell prey to its charms which were not long removed from the echoes of the “Wild West.” These views of prairie, plains and sky became Georgia’s muses as she embarked on her step-by-step path with her role models—Alon Bement, Arthur Jerome Dow and Wassily Kandinsky. In this two-part biography of which this is Part I covering the period 1887–1945, Nancy Hopkins Reily “walks the Sun Prairie Land,” as if in Georgia’s day as a prologue to her family’s friendship with Georgia in the 1940s and 1950s. Reily chronicles Georgia’s defining days within the arenas of landscape, culture, people and the history surrounding each, a discourse level that Georgia would easily recognize.

Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.

A groundbreaking introduction to the photographic work of an iconic modern artist The pathbreaking artist Georgia O'Keeffe (1887-1986) is revered for her iconic paintings of flowers, skyscrapers, animal skulls, and Southwestern landscapes. Her photographic work, however, has not been explored in depth until now. After the death of her husband, the photographer Alfred Stieglitz, in 1946, photography indeed became an important part of O'Keeffe's artistic production. She trained alongside the photographer Todd Webb, revisiting subjects that she had painted years before--landforms of the Southwest, the black door in her courtyard, the road outside her window, and flowers. O'Keeffe's carefully composed photographs are not studies of detail or decisive moments; rather, they focus on the arrangement of forms. This is the first major investigation of O'Keeffe's photography and traces the artist's thirty-year exploration of the medium, including a complete catalogue of her photographic work. Essays by leading scholars address O'Keeffe's photographic approach and style and situate photography within the artist's overall practice. This richly illustrated volume significantly broadens our understanding of one of the most innovative artists of the twentieth century.