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In 2014, O'Keeffe's 1932 painting Jimson Weed/White Flower No. 1 sold for $44,405,000—at the time, by far the largest price paid for any painting by a female artist. [10] Her works are in the collections of several museums, and following her death, the Georgia O'Keeffe Museum was established in Santa Fe.
Georgia O'Keeffe holds the record for the highest price paid for a painting by a woman. On November 20, 2014 at Sotheby's, the Crystal Bridges Museum of American Art bought her 1932 painting Jimson Weed/White Flower No. 1 for US$44.4 million (equivalent to US$57.2 million in 2023). [14] [15]
The American artist Georgia O'Keeffe is best known for her close-up, or large-scale flower paintings, [1] which she painted from the mid-1920s through the 1950s. [2] She made about 200 paintings of flowers of the more than 2,000 paintings that she made over her career. [3] One of her paintings, Jimson Weed, sold for $44.4 million, making it the ...
A recent study by online art gallery Singulart found that Wisconsin native Georgia O'Keeffe (1887-1986) is the most displayed female artist across American museum art collections.
An older, but similar work by O'Keeffe, Jimson Weed/White Flower No. 1 (1932), focusing on only a single flower, was sold by the Georgia O'Keeffe Museum at auction to Walmart heiress Alice Walton in 2014 for $44,405,000, more than tripling the previous world record auction for a piece by a female artist. [5]
Georgia O'Keeffe, Red Canna, 1919, High Museum of Art, Atlanta Painted in oil on a 13 in × 9 + 1 ⁄ 2 in (33.0 cm × 24.1 cm) board, the red canna lily framed by green and dark yellow background colors at the top and right of the painting and dark blue at the bottom and left. [ 9 ]
Dale Kronkright, head of conservation at the Georgia O’Keeffe Museum in Santa Fe, called the job the most massive restoration project he has ever worked on. The painting combines such O’Keeffe ...
In 1930, Georgia O'Keeffe created 54 works, some of which were created in Maine and New York, though the majority were completed in New Mexico. [4] In April of that year, she continued her exploration of natural forms in Maine, expanding on her ongoing shell series first initiated in the 1920s (Shell and Old Shingle I, Shell and Old Shingle VII, 1926; Shell No. 2, 1928) and continuing ...