Georgia O'Keeffe - Painting Quotes

24 Sourced Quotes

View all Georgia O'Keeffe Quotes
I don't remember where I picked up the head — or the hollyhock. Flowers were planted among the vegetables in the garden between the house and the hills and I probably picked the hollyhock one day as I walked past. My paintings sometimes grow by pieces from what is around... I have used these things to say what is to me the wideness and wonder of the world as I live in it.

Georgia O'Keeffe
My painting is what I have to give back to the world for what the world gives to me.

Georgia O'Keeffe
The painting is like a thread that runs through all the reasons for all the other things that make one's life.

Georgia O'Keeffe
I realized that I had things in my head not like what I had been taught - not like what I had seen - shapes and ideas so familiar to me that it hadn't occurred to me to put them down. I decided to stop painting, to put away everything I had done, and to start to say the things that were my own.

Georgia O'Keeffe
Sometimes I start in a very realistic fashion, and as I go on from one painting to another of the same kind, it becomes simplified until it can be nothing but abstraction.

Georgia O'Keeffe
I locked myself up in my room and held a private exhibition of everything I had painted. I notice which paintings had been influenced by this painter, which by that one. The I determined which of the finished pieces represented me alone. From that moment forward I knew exactly what kind of work I wanted to do.

Georgia O'Keeffe
Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it.

Georgia O'Keeffe
Alfred [Stieglitz] was always apprehensive about my new things. When I started painting big flowers he said, 'Well, what do you think you are going to do with that?' He was always nervous until the first notices came in. When I brought back my bones from New Mexico and began to work on them he had a fit.

Georgia O'Keeffe
I see no reason for painting anything that can be put into any other form as well.

Georgia O'Keeffe
I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back.

Georgia O'Keeffe
I don't very much enjoy looking at paintings in general. I know too much about them. I take them apart.

Georgia O'Keeffe
I had wanted to talk with you about lots of things... I am anxious to get to work for the fall – it is always my best time I had one particular painting – that tree in Lawrence's front yard as you see it when you lie under it on the table – with stars – it looks as tho it is standing on its head – I wanted you to see it..

Georgia O'Keeffe
School and things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to be at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself... I found that I could say things with colour and shapes that I couldn't say in any other way things that I had no words for.

Georgia O'Keeffe
It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.

Georgia O'Keeffe
The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint.... that was my only low-toned dismal-coloured painting.

Georgia O'Keeffe
So, probably.... when I started painting the pelvis bones I was most interested in the holes in the bones — what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world.... they were most beautiful against the Blue — that Blue that will always be there as it is now after all man's destruction is finished.

Georgia O'Keeffe
On the way I stood a moment looking out across the marshes with tall cattails, a patch of water, more marsh, then the woods with a few birch trees shining white at the edge on beyond. In the darkness it all looked just like I felt. Wet and swampy and gloomy, very gloomy. In the morning I painted it. My memory of it is that it was probably my best painting that summer..

Georgia O'Keeffe
I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted.

Georgia O'Keeffe
There are people who have made me see shapes — and others I thought of a great deal, even people I have loved, who make me see nothing. I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are.

Georgia O'Keeffe
Those perilous climbings [with her sister Claudia, in the Palo Duro Canyon, 1916] were frightening, but it was wonderful to me and not like anything I had known before. The fright of the day was still with me in the night and I would often dream that the foot of my bed rose straight up into the air — then just as it was to fall I would wake up. Many drawings came from days like that, and later some oil paintings.

Georgia O'Keeffe
The meaning of a word — to me — is not as exact as the meaning of a color. Colors and shapes make a more definite statement than words. I write this [1974] because such odd things have been done about me with words. I have often been told what to paint … I make this effort because no one else can know how my paintings happen.

Georgia O'Keeffe
Anita – I am so glad I'm out here – I can't tell you how much I like it. I like the plains – and I like the work [her painting] – everything is so ridiculously new – and there is something about it that just makes you glad you're living here – You understand – there is nothing here – so maybe there is something wrong with me that I am liking it so much.

Georgia O'Keeffe
After I had been in Canada painting the wide white barns along the Saint Lawrence river, I thought how different the life of the Canadian farmer was from life in Cebolla. So I painted [in 1945] the Cebolla church which is so typical of that difficult life. I have always thought it one of my very good paintings, though its message is not as pleasant as many of the others.

Georgia O'Keeffe
Before I put a brush to canvas, I question, 'Is this mine?... Is it influenced by some idea which I have acquired from some man?'... I am trying with all my skill to do a painting that is all of women, as well as all of me.

Georgia O'Keeffe