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O'Keeffe wanted to live among the workers on the Dole plantation to best capture the images for her commission, but Ayer refused to allow it. "O'Keeffe insisted on staying in the village where the pineapple workers lived, to avoid making the long round-trip drive there every day", writes art historian
Michele H. Bogart. "Taken aback, the representative tried to explain that local custom would not permit such a close association between an upper-class white woman and native workers." Art historian Sascha Scott notes that as a wealthy white woman, O'Keeffe's request "flew in the face of Hawaiian social, racial, and gender hierarchies", particularly in 1939, as the racial tensions of the 1932
150:, in the late 19th century. Her exposure to nature during her childhood is said to have contributed to her artistic development, leading her to focus on becoming an artist at a young age. O'Keeffe's mother encouraged all five of her daughters to study art, as women on farms were responsible for decorating their homes. Her mother also helped educate her children. O'Keeffe studied art at a Catholic girls' high school, where at the age of 14, she first began focusing on larger images in her paintings in response to a nun who criticized a drawing of two hands she had made as tiny and out of proportion. After graduating from high school in 1905, she began taking
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177:, but financial problems caused O'Keeffe to leave art school and move to Chicago in late 1908, where she began working as a commercial artist. She took freelance commercial commissions in the fashion advertisement industry and corporate and business commissions in Chicago and New York, drawing lace and embroidery designs for women's clothing advertisements, often for 12 hours at a time, six days a week. Her job required illustrators to quickly produce work for daily newspaper deadlines, and there was no end to job opportunities for those who could keep up. It was often rumored that O'Keeffe was the uncredited designer of the
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paintings but nothing to do with pineapple...I said, 'I wonder if you couldn't paint the pineapple flower.'" O'Keeffe explained to Coiner what had happened and how she was prevented from painting the pineapple by Dole and how she was provided with a terrible specimen unfit for painting. Coiner quickly made arrangements to send her a viable plant. In less than two days, Coiner had a new pineapple plant shipped by plane from Hawaii to New York for O'Keeffe to paint. Sometime between June and July, O'Keeffe eventually completed her commission, producing
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780:. O'Keeffe had taken a few photographs prior to 1939, but the "Hawaii snaps" (as she labeled them) are considered her first major, cohesive works in that medium up to that point in her career. One notable technique O'Keeffe brought to photography was the experimental method of "reframing", changing the position of the camera in each shot to arrange the elements in a unique way, resulting in different compositions of the same scene. It is believed that O'Keeffe came to this method through the instructional techniques of her teacher
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668:. It is not entirely clear which paintings were completed in Hawaii and which were finished on the mainland in New York, but O'Keeffe acknowledged this distinction in her original 1940 exhibition statement. Previously, art historians like Lisa Messinger have dismissed O'Keeffe's Hawaii paintings as "very beautiful", but of "secondary importance" because they were perceived as formulaic and lacking innovation. Messinger considers O'Keeffe's Maui paintings as some of her best of the Hawaii period, with
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226:(1864–1946). At this time, O'Keeffe began teaching art at Columbia College and taking additional courses by Dow. Stieglitz began showing her work at his gallery in 1916, giving O'Keeffe an entire show to herself by 1917. They soon married in 1924. Stieglitz was opposed to commercial art, and his position created friction between the two of them. In the 1920s, O'Keeffe's use of bright and radiant colors began to attract major attention, especially with her exhibition
2179:. "Likely unknown to the artist, many of the plants she encountered–and ultimately painted–were not native to the Hawaiian Islands, but had been introduced over the course of human habitation beginning approximately 1,500 years ago. Her depictions of hibiscus, plumeria, bird-of-paradise, and even banana–an ornamental variety–provide a snapshot of the tourist’s Hawai'i, and serve as a record of her initial exploration of her new surroundings."
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308:. To get out of the red, they spent $ 1.5 million on advertising, using famous artists to generate interest in their product. Coiner took the Dole account in 1933, making changes to their advertising strategy. Before coming to Ayer, Dole focused on the health and nutrition of pineapple. Coiner turned this around and changed the product attention to Hawaii itself. Japanese-American painter
825:, was the first to propose the idea of a new Hawaii exhibition of O'Keeffe's work in the late 1980s. Jennifer Saville, then assistant curator, organized the first exhibition in 1990, which was followed by two separate exhibitions curated by Theresa Papanikolas in 2013 and later in 2018. Curator Lisa Volpe organized an exhibition that included O'Keeffe's Hawaii photographs in 2021.
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562:(1867–1962) dated July 22, 1939, she writes that she had been seeing a physician three times a week and had remained mostly bedridden for six weeks prior to the letter. She experienced "stomach problems, headaches, and weight loss". Meanwhile, the commission for Dole loomed large. She began painting, and by June or July, O'Keeffe completed
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dock. Both
Coonley and Richards brought O'Keeffe traditional flower leis as a greeting, which greatly impressed her. She soon checked into the Moana Hotel in Waikīkī. In a radio postal telegraph to Stieglitz soon after arriving, she writes: "Arrived this morning feeling fine. Lovely summer weather here. Hope you are alright."
134:. Subsequent public exhibitions in 1990, 2013, and 2018, have shown only part of the series due to six of the paintings in the series being held in disparate public and private collections. In 2021, O'Keeffe's Hawaii photos from the series were first shown in a traveling exhibition dedicated solely to her photography.
355:, O'Keeffe's knowledge of the islands came mostly from travel brochures designed for tourists, preconceived ideas that O'Keeffe would have to master to create an original artistic approach and vision about Hawaii in her work. By late January of 1939, O'Keeffe finished hanging her annual exhibition of paintings at
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Although Hawaii is known for its native plant species, none of the flowers or plants depicted in O'Keeffe's paintings are endemic to Hawaii. The plants and flowers O'Keeffe painted represent introduced species that had been brought to the
Hawaiian Islands, initially by Polynesian voyagers in canoes,
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appeared at the original exhibition in 1940, it disappeared into private collections. Saville had traced it to the collection of Alice and Fred Rubin, and noted in her catalog that it shared qualities with O'Keeffe's work depicting flowers at close range in the 1920s, but was unable to borrow it for
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shows a framed painting of a close-up of a small, newly formed pineapple surrounded by its leaves. The ad presents this image in the context of art as a "First
Showing: A Dole Pineapple Bud from Hawaii". The text at the bottom of the ad reads in part: "Perhaps you have never seen a pineapple bud—and
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in
Honolulu were still fresh. The company was also unable to provide adequate samples of the crops for O'Keeffe to model. Angered by this treatment, the story goes, O'Keeffe was unable to paint a pineapple in Hawaii until she returned home. Curator Theresa Papanikolas indicates that this established
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in 1910, leaving her vision too weak to continue illustrating advertisements. This forced her to recover with her family, who were now living in
Virginia, putting an end to her commercial pursuits. This was also around the time when she stopped painting. Up to this point, her academic art studies in
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O'Keeffe's ship arrived at
Honolulu Harbor on February 8, 1939. She was met by a representative from Ayer (thought to be John S. Coonley) who took a tender out to the boat, and Helen Richards, the wife of Atherton Richards, president and manager of Hawaiian Pineapple, who waited for O'Keeffe on the
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and modernist painter
Georgia O'Keeffe to join the campaign. In the summer of 1938, O'Keeffe was offered an all-expenses paid, nine-week trip to the territory of Hawaii as a commercial art commission for the Hawaiian Pineapple Company. In exchange, O'Keeffe agreed to produce two paintings without
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O'Keeffe never wrote or spoke about her specific work as an artist in Hawaii in 1939, except for her original 1940 exhibition statement at An
American Place, where she implied that the brief, nine-week visit was not enough time. She did speak often about returning to Hawaii. In 1958, she wrote a
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Everything changed for O'Keeffe in 1915. At the age of 28 she made the rash decision to destroy all of her existing art work, concluding it was too derivative. This would take her in an entirely new direction. Putting the color palette aside for several years, O'Keeffe worked simply in black and
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O'Keeffe's Hawaii paintings have been exhibited together, in whole or in part, four times, initially by O'Keeffe herself in 1940. In the intervening five decades, many of the paintings appeared by themselves at exhibitions, but were not all shown together as six of the works are held in private
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as an executive. Ayer was commissioning famous artists for their clients, bringing fine art to commercial advertisements. Ayer represented the
Hawaiian Pineapple Company account, and Thomas would soon make O'Keeffe an offer to join their campaign. By July, O'Keeffe told friend and fellow artist
2118:(1906–1986), would tell biographer Sarah Whitaker Peters (1924–2019) about O'Keeffe's process which often involved initially painting small objects from a model to get the motif in place, "working from realism to abstraction", and later finishing the work from memory based on their impressions.
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O'Keeffe spent almost four of the nine weeks in Hawaii on the island of Oahu. It was not until eight days after her initial arrival that she was first taken to the pineapple plantation. She wrote to Steiglitz telling him that she had expected to visit the plantation on her first or second day.
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was partly responsible for the popularity of marketing fine art with commercial products, particularly for clients like DeBeers, Steinway & Sons, and the Container Corporation of America. Coiner hired modern artists to perausde customers of the quality of purchasing products made by Ayer's
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Although it was never demanded or specified that O'Keeffe would produce a painting featuring a pineapple, her two submissions featuring a heliconia flower and a papaya tree caused some confusion. Ayer art director Charles T. Coiner recalled that O'Keeffe "came back with all kinds of beautiful
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dogs, and peacocks. After Stieglitz's death in 1946, O'Keeffe would later permanently move to Abiquiu. In 1952, Pritzlaff gave O'Keeffe her first two Chows, Bo and Chia, as a present, the beginning of her long fascination with the breed. She returned to Honolulu on April 10 to prepare for her
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the European style had only taken her so far. O'Keeffe recalled: "I began to realize that a lot of people had done this same kind of painting before I came along. It had been done and I didn't think I could do it any better." After recuperating, she began taking drawing classes at the
181:. O'Keeffe later credited Chase for teaching her to paint quickly, a skill that was useful in the fast-paced commercial art world. But, according to author Laurie Lisle, O'Keeffe was not happy with commercial art work, as it brought home the "horror of meaningless work".
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words cannot describe the glowing crater of color which on the Dole plantations grows and ripens into a luscious big pineapple...Perhaps you have never tasted Dole Pineapple Juice—and there is no other way to discover the fragrant, zestful goodness of this pure juice."
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indicates that she completed a total of 44 works in 1939, of which 23 were drawings and 21 were oil paintings, 20 of which are part of the Hawaii painting series. Of those 20, there are eleven paintings of flowers, seven showing Hawaii landscapes, and two depicting
238:. They commissioned O'Keeffe to create five paintings of flowers, whose colors were paired with silk women's clothing styles. O'Keeffe's paintings were turned into reproductions for window displays and posters for stores to promote Cheney Brothers fashion.
812:(1899), Dow notably taught his students to "Try only to cut a space finely by landscape shapes; the various lines in your subject combine to enclose spaces, and the art in your composition will lie in placing these spaces in good relations to each other."
534:, and spent the remainder of her time there on the west side. In Kona, she became lifelong friends with Richard G. Pritzlaff, a fellow New Mexican, where O'Keeffe had been spending her summers since 1929. Pritzlaff was a breeder of
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a mostly unknown artist and arts educator innovator. Dow's philosophy of art ("produce original work", "fill a space in a beautiful way") would lead to lasting, profound changes for O'Keeffe as an artist for the rest of her life.
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By the late 1930s, O'Keeffe was highly productive and sought after, and her profile as an artist had reached a crescendo with multiple exhibitions and mixed, yet positive reviews. In April 1936, she and Stieglitz moved into the
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The exhibition of O'Keeffe's complete Hawaii series of paintings, comprising tropical flowers, landscapes, and cultural artifacts, has only been shown together in their entirety once, appearing in O'Keeffe's original showing at
894:, along with a horticultural exhibition of Hawaiian plants and flowers from the Enid A. Haupt Conservatory, combined with cultural programs and performances from May 19 through October 28, after which it travelled to the
555:. Her first stop was in San Francisco, after which she took a train back to New York. Upon her return, she began to get back into her routine through the month of May, but she began to experience serious health problems.
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469:) depicting what she described as the meeting of "the lava and the sea" near Leho'ula Beach, "a beautiful strip of black lava stretching out into the sea—worn under in one spot so it was like a bridge." On the road to
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showed up in 1998 at a gallery in Memphis, then disappeared into private hands again. Papanikolas was unable to find the painting in time for the 2018 exhibition, but just days after it opened in New York City,
570:, an image of a papaya tree. Both were submitted to Ayer to fulfill the commission for the canned pineapple juice ads. She did not go to New Mexico that year and she stopped painting entirely until October.
118:, were used in advertisements that appeared in popular American magazines in 1940. Her photos of Hawaii, all from the island of Maui, are said to be her first major works in that medium up to that point.
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shows an image of a red heliconia in close view with the ocean in the background along the bottom; an island can be seen along the horizon with low-lying clouds. The text accompanying the ad using
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110:. The company arranged for O'Keeffe to paint two works, without any artistic restrictions, for a magazine advertising campaign for pineapple juice. Two of the paintings from this commission,
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reads in part: "Hospitable Hawaii cannot send you its abundance of flowers or its sunshine. But it sends you something reminiscent of both—golden, fragrant Dole Pineapple Juice." The ad for
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Blaszczyk, Regina Lee (2006). "The Colors of Modernism: Georgia O'Keeffe, Cheney Brothers, and the Relationship between Art and Industry in the 1920s". In Patricia Johnston (Ed.).
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artistic restrictions for a magazine advertising campaign for canned pineapple juice. O'Keeffe was hesitant at first, but Coiner managed to convince her to take the commission.
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exhibition, also at the Honolulu Academy of Arts, from July 18, 2013, until January 12, 2014. In preparation for this show, conservators restored and preserved the painting
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O'Keeffe later claimed she waited two weeks to visit the pineapple plantation, but Saville traced her letters and postmarked and discovered it was, in fact, eight days.
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in 1987 after O'Keeffe's death. The Brooklyn Museum held a special place for O'Keeffe as that was where she held her first retrospective museum exhibition in 1927.
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narrative may not be entirely accurate. Papanikolas believes that letters written home by O'Keeffe indicate she tried to paint a pineapple while still in Hawaii.
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as her crowning achievement in the series. Art historian Sascha Scott views O'Keeffe's Hawaii series as part of a larger discourse rooted in the history of
363:, ran from January 22 to March 17, featuring 22 paintings in her absence, as she departed for Hawaii a week after it opened. Stieglitz took O'Keeffe to the
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magazine was calling O'Keeffe "America's most famous and successful woman artist". In May of that same year, she received an honorary doctorate from the
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On the island of Maui, amateur photographer Harold Stein captured several photographs of O'Keeffe standing in front of the Hana landforms she painted (
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with him in 1938 and visiting Hawaii in 1939. She eventually returned to Maui in May 1982, visiting the island with Juan Hamilton and his family.
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from February 1 to March 17, 1940, which was positively received by critics at the time. The original exhibition led to the sale of one work,
457:(1891–1975) arranged for Willis Jennings, the manager of the Kaeleku Sugar Company plantation, to host O'Keeffe at their plantation house in
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was owned by Dole Company from 1940 to 1976. After that time, the work passed through 10 separate owners, finally settling with Laila and
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clients in high-end magazine advertisements. In 1932, Hawaiian Pineapple (later known as Dole) had come close to bankruptcy during the
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from February 7 to September 14, 2014. In 2018, Papanikolas also curated a showing of 17 of the 20 works in the Hawaii series at the
863:, both in private collections, could not be obtained for the 1990 show. The exhibition was made possible by federal funding from the
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from March 22 through May 6, 1990, celebrating the fiftieth anniversary of the original showing at An American Place. Two paintings,
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In 2013, Papanikolas organized 12 of the 20 works from the series along with a joint showing of Ansel Adams' work in Hawaii at the
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1693:, 1939. Oil on canvas, 36 1/4 × 30 1/8 inches (91.4 × 76.2 cm). Georgia O'Keeffe Museum. Extended loan. Private collection.
197:, who was training students to teach art to children. Bement relied on the Dow Method, the artistic approach of his mentor,
2145:"Some of them were painted in Hawaii, some were painted here in New York from drawings or memories of things brought home."
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in Manhattan, where she left for the Hawaii Territory on January 30. After arriving in San Francisco, O'Keeffe boarded the
193:, Charlottesville, in 1912. Her sister Anita noticed O'Keeffe was no longer painting, and invited her to take classes from
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729:. O'Keffee painted for three days in late March at Iao Valley and talked about the experience in letters to Stieglitz and
291:, which was arranged by Earl B. Thomas, an old friend of O'Keeffe's who was now working for Philadelphia advertising firm
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603:, a painting of a papaya tree, was rejected by Dole because their direct competitor at the time produced papaya juice.
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87:(1887–1986) created a series of 20 paintings and 17 photographs based on her more than nine-week visit to four of the
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escaped O'Keeffe's destruction of all of her early work in 1915 only because it was held by the Art Students League.
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the next day. She was met by her hosts, the Shipman family, who took her on a tour of a black sand beach, and later
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Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music and Psychology
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from February 1 to March 17, 1940. It was well received by the public and critics alike, and led to the sale of
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O'Keeffe's series of 14 Hawaii photographs (plus two photos of O'Keeffe by Harold Stein) were exhibited by the
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was gifted to the Alfred Stieglitz Collection at the Boston Museum of Fine Arts in 1987, also after her death.
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Scott, Sascha T. (Summer 2020). "Georgia O'Keeffe's Hawaiʻi? Decolonizing the History of American Modernism".
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Two separate print advertisements for Dole Pineapple Juice used two different paintings to accompany the ads.
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Sometime in May, O'Keeffe began suffering from what she described as exhaustion. In a letter to art critic
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3201:"Georgia O'Keeffe's Missing Hawaiian Painting "Hibiscus" Resurfaces at Auction, Selling for $ 4.8 Million"
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collections throughout the United States. Curator James Jensen (1950–2017), of what was then known as the
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in 1988, where it remained for 33 years. In 2021, it was sold by their descendant Sharon Twigg-Smith at
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to create abstract expressionist works based on original ideas. Sharing her new style with her friend
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Saville, Jennifer (2011). "Introduction". Revised. In Jennings, Patricia; Ausherman, Maria (Ed.).
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were matched with Hawaiian Pineapple Company advertisements. Coiner next invited American artist
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Two additional photographs in the Hawaii series were taken by Harold Stein, not O'Keeffe:
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Lisa Volpe: "O'Keeffe's snaps from Hawaii are her first significant body of photographs."
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Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers
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and John Gregg Allerton at the former Hawaiian Royal tropical estate, now known as the
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in the Jennings' guest cottage. Plant experts later identified the flower depicted in
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1869:, 1939. Oil on canvas, 24 1/4 × 20 inches (61.6 × 50.8 cm). Honolulu Museum of Art.
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3364:"See Georgia O’Keeffe’s Little-Known Hawaii Paintings Blossom Next to Real Plants"
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1783:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Georgia O'Keeffe Museum.
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O'Keeffe only took 17 photos, all on the island of Maui. Two additional photos (
1882:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Honolulu Museum of Art.
1826:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Honolulu Museum of Art.
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261:(1936) for her Gymnasium Moderne, a New York salon and fitness center. In 1937,
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3787:. The Museum of Fine Arts, Houston; in association with Yale University Press.
3218:. National Gallery of Art; New York Graphic Society Books, Washington, Boston.
1813:, 1939. Oil on canvas, 6 × 10 inches 15.2 × 25.4 cm). Honolulu Museum of Art.
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3496:"Georgia O'Keeffe: Exhibition of Oils and Pastels, February 3-March 17, 1940"
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on March 10, where she checked in to the Maui Grand Hotel in Wailuku. Artist
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Seeing High and Low: Representing Social Conflict in American Visual Culture
1753:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Private Collection.
1706:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Private collection.
1680:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Private Collection.
1650:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Private collection.
1637:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm). Private collection.
1564:
982:
539:
147:
3800:
3602:
3568:
3462:
3437:
3412:
3248:
3223:
599:
for Dole to use in their advertisements. Her previous submission candidate,
3732:
3545:
3522:
3340:
3292:
847:
In 1990, Saville was able to gather 18 of the 20 Hawaii paintings for the
3834:
3709:
3673:
3648:
3317:
3167:
3144:
551:
O'Keeffe left Hawaii on April 14, 1939, traveling on the ocean liner SS
3911:
3387:
3355:
1523:
1410:
185:
3812:. Exhibition preview. Georgia O'Keeffe Museum. Retrieved June 4, 2024.
1231:
3612:. 20th Century & Contemporary Art Evening Sale New York Auction.
1062:
3739:
3766:
3740:"Off in the Far Away: Georgia O'Keeffe's Letters Home from Hawaiʻi"
430:
332:
3485:"See Hawaii through the eyes of Georgia O'Keeffe and Ansel Adams"
918:
and much later, Europeans, over a combined period of 1500 years.
296:
William Einstein that she was considering taking the commission.
95:
in the summer of 1939. Her trip was part of an all-expenses paid
3507:
Pineapple Culture: A History of the Tropical and Temperate Zones
473:, O'Keeffe spotted a flowering shrub that she thought resembled
450:
3845:
3175:"Charles T. Coiner, 91, Painter And Noted Advertising Designer"
1736:, 1939. Oil on canvas, 19 3/16 × 16 1/8 inches (48.7 × 41 cm).
3585:
Peters, Sarah Whitaker (2006). In René Paul Barilleaux (Ed.).
3470:"Paradise For The Pioneer: Georgia O'Keeffe's Trip To Hawaiʻi"
3277:
A Pacific Industry: The History of Pineapple Canning in Hawaii
1600:, 1939. Oil on canvas board, 18 × 14 inches (45.7 × 35.6 cm).
3555:. The New York Botanical Garden and DelMonico Books-Prestel.
704:
the 1990 exhibition. Eight years after Saville's exhibition,
499:, where she painted for three days producing five paintings (
281:
flower which was etched on a crystal bowl. By February 1938,
1839:, 1939. Oil on canvas, 19 1/8 × 16 inches (48.6 × 40.6 cm).
934:
List of introduced plant species in O'Keeffe's Hawaii series
142:
Georgia O'Keeffe was raised on a large, rural dairy farm in
106:
on behalf of the Hawaiian Pineapple Company, later known as
230:
in February 1926. Months later, O'Keeffe was approached by
578:, telling him that her two best experiences were going to
1719:, 1939. Oil on canvas, 40 × 30 inches (101.6 × 76.2 cm).
713:
appeared at auction, where it sold for US $ 4.8 million.
1766:, 1939. Oil on canvas, 20 × 22 inches (50.8 × 55.9 cm).
1663:, 1939. Oil on canvas, 19 × 16 inches (48.3 × 40.6 cm).
844:
magazine published a positive review of the exhibition.
792:, but also in her paintings more than a decade earlier (
433:, spending two days on the island, visiting with artist
166:, forcing her to spend a long time at home recovering.
130:, which contemporaneously entered the collection of the
3212:
Cowart, Jack; Hamilton, Juan; Greenough, Sarah (1987).
1856:, 1939. Oil on canvas, 24 × 20 inches (61 × 50.8. cm).
796:, 1926) as well as in photos almost two decades later (
784:, as it notably shows up in her Hawaii series, such as
3530:
Georgia O'Keeffe and Ansel Adams: The Hawaiʻi Pictures
2049:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
2041:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
2028:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
2020:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
2012:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
2004:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1996:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1988:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1980:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1972:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1964:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1956:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1948:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1940:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1934:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1926:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1918:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1910:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1902:, 1939. Gelatin silver print. Georgia O'Keeffe Museum.
1796:, 1939. Oil on canvas, 24 × 10 inches (61 × 25.4 cm).
1620:, 1939. Oil on canvas, 36 × 24 inches (91.4 × 61 cm).
876:
Georgia O'Keeffe and Ansel Adams: The Hawaiʻi Pictures
626:
was the second advertisement used, first appearing in
495:. O'Keeffe's visit to the island of Maui continued to
3418:
Merrill, Christopher; Bradbury, Ellen (Ed.). (1998).
4186:
4145:
4116:
4095:
4064:
3978:
3879:
632:in October 1940, followed by its subsequent use in
73:
41:
21:
16:
Painting and photography series by Georgia O'Keeffe
3753:. Smithsonian American Art Museum. 34 (2): 26-53.
3304:. Metuchen, New Jersey: The Scarecrow Press, Inc.
898:from December 1, 2018, through February 24, 2019.
3551:Papanikolas, Theresa; Groarke, Joanna L. (2018).
3421:From the Faraway Nearby: Georgia O'Keeffe as Icon
2128:"First Showing: A Dole Pineapple Bud from Hawaii"
3806:Volpe, Lisa; Plotek, Ariel (November 5, 2021b).
3635:. Hanover, NH: University Press of New England.
3379:The Artist's Voice: Talks with Seventeen Artists
3232:Full Bloom: The Art and Life of Georgia O'Keeffe
3196:. National Endowment for the Humanities. 39 (3).
1923:Natural Stone Arch near Leho‘ula Beach, ‘Aleamai
1915:Natural Stone Arch near Leho‘ula Beach, ‘Aleamai
1907:Natural Stone Arch near Leho‘ula Beach, ‘Aleamai
1899:Natural Stone Arch near Leho‘ula Beach, ‘Aleamai
790:Natural Stone Arch near Leho‘ula Beach, ‘Aleamai
776:). Stein printed the negatives on Kodak Velox F
361:Georgia O'Keeffe: Exhibition of Oils and Pastels
3424:. Albuquerque: University of New Mexico Press.
3301:An Enduring Spirit: The Art of Georgia O'Keeffe
2114:Much later, in 1980, Stieglitz's niece, artist
2086:Steuben Glass Bowl with Jimson Weed Image, 1938
251:at 405 East Fifty-fourth Street. Months later,
3778:O'Keeffe: The Georgia O'Keeffe Museum Magazine
721:On Maui, it is believed that O'Keeffe painted
3857:
3323:Jennings, Patricia; Ausherman, Maria (2011).
8:
3660:. Hanover: University Press of New England.
3509:. Berkeley: University of California Press.
3359:. 41 (6): 30-31, 41. Retrieved May 12, 2024.
3152:Artists, Advertising, and the Borders of Art
3131:. Berkeley: University of California Press.
1938:Canoe Shed at Wai'anapanapa Black Sand Beach
774:Canoe Shed at Wai'anapanapa Black Sand Beach
610:was the first to be published, appearing in
566:, an image of a lobster claw heliconia, and
518:on an interisland steamboat that arrived in
359:, Stieglitz's largest gallery. The showing,
3864:
3850:
3842:
1545:
1510:
1468:
1433:
1397:
1364:
1329:
1295:
1261:
1230:
1195:
1155:
1115:
1084:
1042:
1008:
970:
937:
236:Cheney Brothers Silk Manufacturing Company
27:
2605:
2603:
2601:
2520:
2518:
2469:
2467:
2465:
2463:
3681:"Georgia O'Keeffe (1887-1986), Hibiscus"
3587:Georgia O'Keeffe: Color and Conservation
2725:
2723:
2682:
2680:
2678:
2676:
2674:
2410:
2408:
725:in Hana and her waterfall series at the
265:invited 27 artists, including O'Keeffe,
204:
36:(1939, Smithsonian American Art Museum).
3003:
3001:
2213:
2065:
102:from the Philadelphia advertising firm
3694:Georgia O'Keeffe: Paintings of Hawaiʻi
3483:O'Connell, Maureen (August 10, 2013).
2976:
2974:
2972:
2970:
2968:
2966:
2788:
2786:
1931:Fence Morning Glory (Ipomoea ochracea)
1836:Waterfall - No. 1 - ʻĪao Valley - Maui
1810:Black Lava Bridge, Hana Coast – No. 2,
1703:Bella Donna with Pink Torch Ginger Bud
1518:Fence Morning Glory (Ipomoea ochracea)
1203:Bella Donna with Pink Torch Ginger Bud
924:Bella Donna with Pink Torch Ginger Bud
849:Georgia O'Keeffe: Paintings of Hawaiʻi
156:School of the Art Institute of Chicago
18:
3574:Perrottet, Tony (November 30, 2012).
3399:. New York: Washington Square Press.
3272:. p. C13. Retrieved January 27, 2024.
3266:"O'Keeffe’s Paradise, Lost and Found"
3264:Hamilton, William L. (May 24, 2018).
2802:
2800:
2219:
2217:
1793:Black Lava Bridge, Hana Coast, No. I,
441:. During her stay, she was hosted by
7:
3783:Volpe, Lisa; Plotek, Ariel (2021a).
3553:Georgia O'Keeffe: Visions of Hawaiʻi
3532:. Honolulu: Honolulu Museum of Art.
3255:"Georgia O'Keeffe's Artistic Career"
2455:1938 Annual Exhibition catalog notes
2198:Georgia O'Keeffe: Visions of Hawai'i
1823:Waterfall - End of Road - Īao Valley
888:Georgia O'Keeffe: Visions of Hawaiʻi
723:Black Lava Bridge, Hana Coast, No. I
465:, where she painted two landscapes (
3818:Georgia O'Keeffe: An Eternal Spirit
1977:Lava Arch, Wai'anapanapa State Park
1969:Lava Arch, Wai'anapanapa State Park
1961:Lava Arch, Wai'anapanapa State Park
1953:Lava Arch, Wai'anapanapa State Park
786:Lava Arch, Wai'anapanapa State Park
699:for more than $ 7.7 million. After
514:On March 28, she left Maui for the
4041:New York skyscraper paintings
3229:Drohojowska-Philp, Hunter (2005).
2194:National Tropical Botanical Garden
808:, 1957). In his influential book,
616:in April 1940 and a year later in
14:
3994:University of Virginia, 1912–1914
3952:Cow's Skull: Red, White, and Blue
3215:Georgia O'Keeffe: Art and Letters
882:. The exhibition traveled to the
678:overthrow of the Hawaiian Kingdom
4072:Georgia O'Keeffe Home and Studio
4029: paintings (1916–1918)
4015: paintings (1915–1927)
3626:. 35 (7): 42. February 12, 1940.
3188:Christopher, Tom (Summer 2018).
530:. The next day, she traveled to
420:Lava "bridge"-like formation at
410:
399:
299:In the 1930s, Ayer art director
4252:Photographs by Georgia O'Keeffe
3449:. London: Thames & Hudson.
3190:"Georgia O'Keffe Paints Hawaii"
3173:Cass, Julia (August 14, 1989).
3154:. University of Chicago Press.
1866:Waterfall, No. III, 'Īao Valley
1721:Smithsonian American Art Museum
930:depict multiple plant species.
865:National Endowment for the Arts
638:in November of that same year.
58:Smithsonian American Art Museum
3809:Georgia O'Keeffe, Photographer
3785:Georgia O'Keeffe, Photographer
3608:Phillips (November 17, 2021).
3443:Messinger, Lisa Mintz (2001).
3382:. New York: Harper & Row.
2188:This list was authored by the
2017:Wai'anapanapa Black Sand Beach
2009:Wai'anapanapa Black Sand Beach
907:Georgia O'Keeffe, Photographer
1:
4247:Paintings by Georgia O'Keeffe
3528:Papanikolas, Theresa (2013).
3362:Katz, Brigit (May 30, 2018).
3199:Cohen, Alina (May 22, 2018).
2638:Jennings & Ausherman 2011
2622:Jennings & Ausherman 2011
947:Title of work depicting plant
289:College of William & Mary
77:20 paintings, 17+ photographs
3696:. Honolulu Academy of Arts.
3275:Hawkins, Richard A. (2011).
2846:Georgia O'Keeffe Museum 2024
2136:. 57 (10): 61. October 1940.
2001:Sugar Cane Fields and Clouds
1993:Sugar Cane Fields and Clouds
1879:Papaw Tree, Īao Valley, Maui
1853:Waterfall, No. 2, Iao Valley
1841:Memphis Brooks Museum of Art
1597:Fishhook from Hawaii – No. 1
1553:Sugar Cane Fields and Clouds
1476:Papaw Tree, Īao Valley, Maui
903:Museum of Fine Arts, Houston
896:Memphis Brooks Museum of Art
798:Garage Vigas and Studio Door
770:Sugar Cane Fields and Clouds
601:Papaw Tree, Īao Valley, Maui
568:Papaw Tree, Īao Valley, Maui
429:On February 23, she visited
184:O'Keeffe came down with the
3744:Hawaiian Journal of History
3494:O'Keeffe, Georgia. (1940).
3298:Hoffman, Katherine (1984).
3150:Bogart, Michele H. (1995).
2088:. Georgia O'Keeffe Museum.
2073:Dead Rabbit with Copper Pot
2025:Wai'anapanapa, Keawaiki Bay
1622:Museum of Fine Arts, Boston
1617:Fishhook from Hawaii, No. 2
772:), and cultural artifacts (
750:Fishhook From Hawaii, No. 2
742:Fishhook From Hawaii, No. 1
543:departure to the mainland.
378:Arrival, interisland travel
179:logo for Old Dutch Cleanser
175:Dead Rabbit with Copper Pot
54:Museum of Fine Arts, Boston
4268:
4034:Light Coming on the Plains
3774:"O'Keeffe's Little People"
3738:Saville, Jennifer (2012).
3717:Georgia O'Keeffe's Hawaiʻi
3692:Saville, Jennifer (1990).
3629:Riley, Charles A. (1995).
3351:"'Art Art' in Advertising"
3325:Georgia O'Keeffe's Hawaiʻi
3235:. New York: W. W. Norton.
2156:Georgia O'Keeffe in Hawaii
2046:Georgia O'Keeffe in Hawaii
2038:Georgia O'Keeffe in Hawaii
762:Georgia O'Keeffe in Hawaii
659:O'Keeffe's ad hoc digital
526:, where she stayed at the
343:in Honolulu in the 1930s.
3780:. Retrieved June 3, 2024.
3689:. Retrieved June 6, 2024.
3679:Rosen, Annie (May 2018).
3654:Robinson, Roxana (1999).
3582:. Retrieved June 5, 2024.
3505:Okihiro, Gary Y. (2009).
3502:. Retrieved June 5, 2024.
3491:. Retrieved May 10, 2024.
3209:. Retrieved June 6, 2024.
3110:
3098:
3071:
3023:
2992:
2957:
2881:
2833:
2729:
2698:
2686:
2653:
2609:
2524:
2473:
2319:
2190:New York Botanical Garden
1647:Crab's Claw Ginger Hawaii
1016:Crab's Claw Ginger Hawaii
892:New York Botanical Garden
689:Crab's Claw Ginger Hawaii
644:Crab's Claw Ginger Hawaii
640:Crab's Claw Ginger Hawaii
613:The Saturday Evening Post
608:Crab's Claw Ginger Hawaii
593:Crab's Claw Ginger Hawaii
564:Crab's Claw Ginger Hawaii
485:as the hybrid ornamental
112:Crab's Claw Ginger Hawaii
26:
4203:Georgia O'Keeffe - Hands
4195:Georgia O'Keeffe - Torso
4023: series (1916)
3821:. New York, NY: Todtri.
3772:Tolpa, Eve (Fall 2011).
3657:Georgia O'Keeffe: A Life
3616:. Retrieved May 8, 2024.
3370:. Retrieved May 9, 2024.
3087:
3075:
3059:
3047:
3035:
3019:
3007:
2995:. Event occurs at 15:48.
2981:Volpe & Plotek 2021a
2980:
2945:
2933:
2929:
2917:
2905:
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2869:
2857:
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2223:
853:Honolulu Academy of Arts
823:Honolulu Academy of Arts
463:Waiʻanapanapa State Park
422:Waiʻanapanapa State Park
351:Before traveling to the
209:Early Abstraction (1915)
4082:Georgia O'Keeffe Museum
3259:Georgia O'Keeffe Museum
1738:Baltimore Museum of Art
1665:Georgia O'Keeffe Museum
1095:Zantedeschia aethiopica
884:Georgia O'Keeffe Museum
838:Baltimore Museum of Art
347:is visible to the left.
132:Baltimore Museum of Art
62:Baltimore Museum of Art
46:Georgia O'Keeffe Museum
3920:My Shanty, Lake George
3815:Wright, Susan (1996).
3620:"Pineapple for Papaya"
3393:Lisle, Laurie (1997).
3279:. London: I.B.Tauris.
3257:. Data visualization.
2946:Drohojowska-Philp 2005
2778:Drohojowska-Philp 2005
2451:Drohojowska-Philp 2005
2384:Drohojowska-Philp 2005
2252:Drohojowska-Philp 2005
1798:Honolulu Museum of Art
1780:White Bird of Paradise
1716:Hibiscus with Plumeria
1660:Pink Ornamental Banana
1602:Brooklyn Museum of Art
1452:White bird of paradise
1441:White Bird of Paradise
1377:Hibiscus rosa-sinensis
1275:Hibiscus rosa-sinensis
1269:Hibiscus with Plumeria
1050:Pink Ornamental Banana
928:Hibiscus with Plumeria
920:Pink Ornamental Banana
861:Pink Ornamental Banana
635:Woman's Home Companion
348:
228:Fifty Recent Paintings
210:
191:University of Virginia
50:Honolulu Museum of Art
34:Hibiscus with Plumeria
3896:Red and Orange Streak
3498:. An American Place.
3468:Murphy, Rita (2019).
3396:Portrait of an Artist
3179:Philadelphia Inquirer
1559:Saccharum officinarum
794:Shell and Old Shingle
744:was bequested to the
365:Grand Central Station
336:
208:
171:William Merritt Chase
3904:Blue and Green Music
3500:Exhibition statement
3368:Smithsonian Magazine
3347:Jewell, Edward Alden
3327:. Kihei: Koa Books.
2133:Ladies' Home Journal
2055:Notes and references
1945:Cliffs and Coastline
1768:Muscatine Art Center
1733:Cup of Silver Ginger
1343:Solandra grandiflora
1337:Cup of Silver Ginger
1208:Brugmansia × candida
1169:Brugmansia × candida
834:Cup of Silver Ginger
806:White House Overlook
693:Thurston Twigg-Smith
629:Ladies' Home Journal
547:Departure and return
491:, commonly known as
488:Brugmansia × candida
293:N. W. Ayer & Son
128:Cup of Silver Ginger
104:N. W. Ayer & Son
66:Muscatine Art Center
4130:Katherine Stieglitz
3576:"O'Keeffe's Hawaii"
2612:, pp. 103-106, 131.
2200:exhibition in 2018.
1529:Fence morning glory
766:Fence Morning Glory
455:Robert Lee Eskridge
353:Territory of Hawaii
263:Steuben Glass Works
93:Territory of Hawaii
74:Size (no. of items)
4057:series (1960–1977)
4007: (1915–1950s)
3580:The New York Times
3478:Providence College
3349:(May 1-14, 1942).
3270:The New York Times
2742:Cowart et al. 1987
2715:Cowart et al. 1987
2396:Cowart et al. 1987
2177:Haupt Conservatory
1447:Strelitzia nicolai
890:exhibition at the
869:Castle & Cooke
851:exhibition at the
778:photographic paper
737:Cultural artifacts
666:cultural artifacts
661:catalogue raisonné
622:in February 1941.
349:
211:
69:Private collection
4229:
4228:
4206:(1919 photograph)
4198:(1918 photograph)
4158:Mabel Dodge Luhan
4043: (1925–1928)
3999:Charcoal drawings
3990: (1903–1912)
3944:The Lawrence Tree
3907: (1919–1921)
3261:. March 11, 2024.
2512:, pp. 88-91, 123.
2254:, pp. 72-74, 76;
2116:Georgia Engelhard
1581:
1580:
1246:Pink torch ginger
1241:Etlingera elatior
830:An American Place
782:Arthur Wesley Dow
731:Ettie Stettheimer
467:Black Lava Bridge
357:An American Place
301:Charles T. Coiner
234:on behalf of the
199:Arthur Wesley Dow
124:An American Place
81:
80:
4259:
4211:Georgia O'Keeffe
4124:Alfred Stieglitz
4054:Sky Above Clouds
4027:Palo Duro Canyon
4005:Flower paintings
3936:Oriental Poppies
3873:Georgia O'Keeffe
3866:
3859:
3852:
3843:
3610:Georgia O'Keeffe
3489:HAWAIʻI Magazine
3446:Georgia O'Keeffe
3185:on May 21, 2015.
3181:. Archived from
3114:
3111:Papanikolas 2018
3108:
3102:
3099:Papanikolas 2018
3096:
3090:
3085:
3079:
3074:, pp. 6-7; 144;
3072:Papanikolas 2018
3069:
3063:
3060:Papanikolas 2013
3057:
3051:
3045:
3039:
3033:
3027:
3024:Papanikolas 2018
3020:Papanikolas 2013
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2727:
2718:
2712:
2706:
2696:
2690:
2684:
2669:
2666:Christopher 2018
2663:
2657:
2650:Christopher 2018
2647:
2641:
2635:
2629:
2619:
2613:
2607:
2596:
2590:
2584:
2577:Papanikolas 2013
2574:
2568:
2558:
2552:
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2534:
2528:
2522:
2513:
2507:
2501:
2495:
2489:
2483:
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2471:
2458:
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2439:Papanikolas 2013
2436:
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2424:
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2412:
2403:
2393:
2387:
2381:
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2369:
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2320:Papanikolas 2018
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1887:
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1728:
1711:
1698:
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1629:
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1549:
1524:Ipomoea ochracea
1514:
1472:
1437:
1401:
1381:Chinese hibiscus
1368:
1333:
1299:
1280:Chinese hibiscus
1265:
1234:
1199:
1159:
1119:
1088:
1046:
1012:
974:
938:
913:Plants of Hawaii
414:
403:
329:Voyage to Hawaii
314:California Scene
306:Great Depression
224:Alfred Stieglitz
89:Hawaiian Islands
85:Georgia O'Keeffe
83:American artist
31:
19:
4267:
4266:
4262:
4261:
4260:
4258:
4257:
4256:
4232:
4231:
4230:
4225:
4182:
4163:Anita Pollitzer
4141:
4132:(step-daughter)
4112:
4091:
4060:
3980:
3974:
3875:
3870:
3840:
3480:. 1 (4): 33-48.
3123:
3118:
3117:
3109:
3105:
3097:
3093:
3086:
3082:
3070:
3066:
3058:
3054:
3046:
3042:
3034:
3030:
3018:
3014:
3006:
2999:
2991:
2987:
2979:
2964:
2956:
2952:
2944:
2940:
2928:
2924:
2916:
2912:
2904:
2900:
2892:
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2876:
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2828:
2820:
2816:
2805:
2798:
2791:
2784:
2776:
2772:
2764:
2760:
2752:
2748:
2740:
2736:
2728:
2721:
2717:, pp. 228, 286.
2713:
2709:
2701:, pp. 88, 136,
2697:
2693:
2685:
2672:
2664:
2660:
2648:
2644:
2636:
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2620:
2616:
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2599:
2591:
2587:
2575:
2571:
2559:
2555:
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2543:
2535:
2531:
2523:
2516:
2508:
2504:
2496:
2492:
2484:
2480:
2472:
2461:
2453:, pp. 379-380;
2449:
2445:
2437:
2433:
2425:
2421:
2413:
2406:
2398:, pp. 224-226;
2394:
2390:
2382:
2378:
2370:
2366:
2358:, pp. 228-246;
2354:
2350:
2342:
2338:
2330:
2326:
2318:
2314:
2302:
2298:
2290:
2286:
2278:
2274:
2266:
2262:
2250:
2246:
2234:
2230:
2222:
2215:
2210:
2205:
2204:
2196:as part of the
2187:
2183:
2175:
2171:
2166:
2162:
2153:
2149:
2144:
2140:
2126:
2122:
2113:
2109:
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2100:
2089:
2083:
2079:
2071:
2067:
2062:
2057:
2052:
1883:
1870:
1857:
1844:
1827:
1814:
1801:
1784:
1771:
1754:
1741:
1724:
1707:
1694:
1681:
1668:
1651:
1638:
1625:
1605:
1586:
1212:Angel's trumpet
1175:Angel's trumpet
915:
818:
768:), landscapes (
758:
746:Brooklyn Museum
739:
719:
686:
657:
588:
549:
493:angel's trumpet
447:Allerton Garden
443:Robert Allerton
437:(1916–1991) in
427:
426:
425:
424:
417:
416:
415:
406:
405:
404:
380:
331:
310:Yasuo Kuniyoshi
253:Elizabeth Arden
244:
242:Ayer commission
220:Anita Pollitzer
160:John Vanderpoel
154:classes at the
140:
68:
64:
60:
56:
52:
48:
37:
17:
12:
11:
5:
4265:
4263:
4255:
4254:
4249:
4244:
4242:1939 paintings
4234:
4233:
4227:
4226:
4224:
4223:
4215:
4207:
4199:
4190:
4188:
4184:
4183:
4181:
4180:
4178:Rebecca Strand
4175:
4170:
4165:
4160:
4155:
4149:
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4140:
4139:
4133:
4127:
4120:
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4111:
4110:
4105:
4103:Cerro Pedernal
4099:
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4093:
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4090:
4089:
4079:
4068:
4066:
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4059:
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4016:
4008:
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3991:
3984:
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3973:
3972:
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3956:
3948:
3940:
3932:
3924:
3916:
3908:
3900:
3892:
3883:
3881:
3877:
3876:
3871:
3869:
3868:
3861:
3854:
3846:
3839:
3838:
3813:
3804:
3781:
3770:
3767:10.1086/710471
3747:
3736:
3713:
3690:
3677:
3652:
3627:
3617:
3606:
3583:
3572:
3549:
3526:
3503:
3492:
3481:
3466:
3441:
3416:
3391:
3374:Kuh, Katharine
3371:
3360:
3344:
3321:
3296:
3273:
3262:
3252:
3227:
3210:
3197:
3186:
3171:
3148:
3124:
3122:
3119:
3116:
3115:
3113:, pp. 134-135.
3103:
3091:
3080:
3064:
3052:
3040:
3028:
3012:
2997:
2985:
2962:
2950:
2948:, pp. 381-382.
2938:
2922:
2910:
2898:
2886:
2882:Messinger 2001
2874:
2862:
2850:
2838:
2826:
2814:
2796:
2782:
2770:
2758:
2746:
2734:
2719:
2707:
2691:
2670:
2658:
2642:
2630:
2626:Perrottet 2012
2614:
2597:
2585:
2581:O'Connell 2013
2579:, pp. 13, 19;
2569:
2553:
2551:, pp. 165-166.
2541:
2529:
2514:
2502:
2490:
2478:
2459:
2443:
2431:
2429:, pp. 157-170.
2419:
2404:
2388:
2386:, pp. 363-376.
2376:
2364:
2356:Blaszczyk 2006
2348:
2336:
2324:
2312:
2296:
2284:
2272:
2260:
2244:
2228:
2212:
2211:
2209:
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2160:
2147:
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2120:
2107:
2098:
2077:
2064:
2063:
2061:
2058:
2056:
2053:
2051:
2050:
2042:
2030:
2029:
2021:
2013:
2005:
1997:
1989:
1981:
1973:
1965:
1957:
1949:
1941:
1935:
1927:
1919:
1911:
1903:
1894:
1893:
1889:
1888:
1875:
1862:
1849:
1832:
1819:
1806:
1789:
1776:
1759:
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1673:
1656:
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1504:
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1497:
1488:
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1478:
1473:
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1351:
1349:
1346:
1339:
1334:
1327:
1323:
1322:
1320:
1317:
1312:
1309:
1306:Plumeria rubra
1302:
1300:
1293:
1290:
1289:
1286:
1283:
1281:
1278:
1271:
1266:
1259:
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1177:
1172:
1165:
1160:
1153:
1149:
1148:
1145:
1140:
1135:
1132:
1129:Ananas comosus
1125:
1120:
1113:
1109:
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1106:
1103:
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1098:
1091:
1089:
1082:
1079:
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975:
968:
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963:
960:
957:
954:
951:
950:Botanical name
948:
945:
942:
936:
935:
914:
911:
817:
814:
757:
754:
738:
735:
718:
715:
685:
682:
656:
653:
587:
586:Advertisements
584:
548:
545:
536:Arabian horses
419:
418:
409:
408:
407:
398:
397:
396:
395:
394:
379:
376:
330:
327:
318:Millard Sheets
249:Arno penthouse
243:
240:
232:Edward Bernays
139:
136:
97:commercial art
79:
78:
75:
71:
70:
43:
39:
38:
32:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
4264:
4253:
4250:
4248:
4245:
4243:
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4237:
4222:(composition)
4221:
4220:
4216:
4213:
4212:
4208:
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4200:
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4080:
4077:
4073:
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4067:
4063:
4056:
4055:
4051:
4048:
4047:Hawaii series
4045:
4042:
4039:
4036:
4035:
4031:
4028:
4025:
4022:
4021:
4017:
4014:
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3828:
3824:
3820:
3819:
3814:
3811:
3810:
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3802:
3798:
3794:
3793:9780300257809
3790:
3786:
3782:
3779:
3775:
3771:
3768:
3764:
3760:
3756:
3752:
3748:
3746:. 46: 83-137.
3745:
3741:
3737:
3734:
3730:
3726:
3725:9780982165645
3722:
3719:. Koa Books.
3718:
3714:
3711:
3707:
3703:
3699:
3695:
3691:
3688:
3687:
3682:
3678:
3675:
3671:
3667:
3666:9780874519068
3663:
3659:
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3642:
3641:9780874516715
3638:
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3611:
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3604:
3600:
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3592:
3588:
3584:
3581:
3577:
3573:
3570:
3566:
3562:
3561:9783791357270
3558:
3554:
3550:
3547:
3543:
3539:
3538:9780937426883
3535:
3531:
3527:
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3516:
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3508:
3504:
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3497:
3493:
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3439:
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3422:
3417:
3414:
3410:
3406:
3405:9780671600402
3402:
3398:
3397:
3392:
3389:
3385:
3381:
3380:
3375:
3372:
3369:
3365:
3361:
3358:
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3352:
3348:
3345:
3342:
3338:
3334:
3333:9780982165645
3330:
3326:
3322:
3319:
3315:
3311:
3310:9780810816725
3307:
3303:
3302:
3297:
3294:
3290:
3286:
3285:9780755698400
3282:
3278:
3274:
3271:
3267:
3263:
3260:
3256:
3253:
3250:
3246:
3242:
3241:9780393343090
3238:
3234:
3233:
3228:
3225:
3221:
3217:
3216:
3211:
3208:
3207:
3202:
3198:
3195:
3191:
3187:
3184:
3180:
3176:
3172:
3169:
3165:
3161:
3157:
3153:
3149:
3146:
3142:
3138:
3134:
3130:
3126:
3125:
3120:
3112:
3107:
3104:
3100:
3095:
3092:
3089:
3084:
3081:
3077:
3076:Hamilton 2018
3073:
3068:
3065:
3062:, pp. 9, 107.
3061:
3056:
3053:
3050:, pp. 67, 69.
3049:
3044:
3041:
3037:
3032:
3029:
3025:
3022:, pp. 8, 15;
3021:
3016:
3013:
3009:
3004:
3002:
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2994:
2989:
2986:
2982:
2977:
2975:
2973:
2971:
2969:
2967:
2963:
2959:
2954:
2951:
2947:
2942:
2939:
2935:
2931:
2926:
2923:
2919:
2914:
2911:
2907:
2906:Phillips 2021
2902:
2899:
2895:
2890:
2887:
2883:
2878:
2875:
2871:
2866:
2863:
2859:
2854:
2851:
2847:
2842:
2839:
2836:, pp. 27, 98.
2835:
2830:
2827:
2823:
2818:
2815:
2811:
2809:
2803:
2801:
2797:
2794:
2789:
2787:
2783:
2779:
2774:
2771:
2767:
2762:
2759:
2755:
2750:
2747:
2743:
2738:
2735:
2731:
2726:
2724:
2720:
2716:
2711:
2708:
2704:
2700:
2695:
2692:
2688:
2683:
2681:
2679:
2677:
2675:
2671:
2667:
2662:
2659:
2656:, pp. 25, 64.
2655:
2651:
2646:
2643:
2639:
2634:
2631:
2627:
2623:
2618:
2615:
2611:
2606:
2604:
2602:
2598:
2594:
2589:
2586:
2582:
2578:
2573:
2570:
2566:
2562:
2557:
2554:
2550:
2545:
2542:
2539:, pp. 31, 49.
2538:
2533:
2530:
2526:
2521:
2519:
2515:
2511:
2506:
2503:
2499:
2494:
2491:
2487:
2482:
2479:
2475:
2470:
2468:
2466:
2464:
2460:
2456:
2452:
2447:
2444:
2440:
2435:
2432:
2428:
2423:
2420:
2416:
2411:
2409:
2405:
2401:
2397:
2392:
2389:
2385:
2380:
2377:
2373:
2372:Robinson 1999
2368:
2365:
2361:
2357:
2352:
2349:
2345:
2340:
2337:
2333:
2328:
2325:
2321:
2316:
2313:
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2305:
2300:
2297:
2293:
2288:
2285:
2281:
2276:
2273:
2269:
2264:
2261:
2257:
2253:
2248:
2245:
2241:
2238:, pp. 52-53;
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2232:
2229:
2225:
2220:
2218:
2214:
2207:
2199:
2195:
2191:
2185:
2182:
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2161:
2157:
2151:
2148:
2142:
2139:
2135:
2134:
2129:
2124:
2121:
2117:
2111:
2108:
2102:
2099:
2095:
2093:
2087:
2081:
2078:
2074:
2069:
2066:
2059:
2054:
2048:
2047:
2043:
2040:
2039:
2035:
2034:
2033:
2027:
2026:
2022:
2019:
2018:
2014:
2011:
2010:
2006:
2003:
2002:
1998:
1995:
1994:
1990:
1987:
1986:
1982:
1979:
1978:
1974:
1971:
1970:
1966:
1963:
1962:
1958:
1955:
1954:
1950:
1947:
1946:
1942:
1939:
1936:
1933:
1932:
1928:
1925:
1924:
1920:
1917:
1916:
1912:
1909:
1908:
1904:
1901:
1900:
1896:
1895:
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1890:
1886:
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1880:
1876:
1873:
1868:
1867:
1863:
1860:
1855:
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1837:
1833:
1830:
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1817:
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1713:
1710:
1705:
1704:
1700:
1697:
1692:
1691:
1687:
1684:
1679:
1678:
1677:Pineapple Bud
1674:
1671:
1666:
1662:
1661:
1657:
1654:
1649:
1648:
1644:
1641:
1636:
1635:
1631:
1628:
1623:
1619:
1618:
1614:
1611:
1609:
1603:
1599:
1598:
1594:
1593:
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1588:
1583:
1576:
1573:
1571:
1568:
1566:
1563:
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1554:
1551:
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1536:
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1528:
1526:
1525:
1521:
1519:
1516:
1513:
1509:
1506:
1505:
1501:
1498:
1496:
1492:
1489:
1486:
1484:
1483:
1482:Carica papaya
1479:
1477:
1474:
1471:
1467:
1464:
1463:
1459:
1456:
1454:
1451:
1449:
1448:
1444:
1442:
1439:
1436:
1432:
1429:
1428:
1424:
1421:
1419:
1416:
1413:
1412:
1408:
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1403:
1400:
1396:
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1388:
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1373:
1370:
1367:
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1298:
1294:
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1287:
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1282:
1279:
1277:
1276:
1272:
1270:
1267:
1264:
1260:
1257:
1256:
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1245:
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1242:
1238:
1236:
1233:
1229:
1227:
1226:
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1219:
1217:
1214:
1211:
1209:
1206:
1204:
1201:
1198:
1194:
1191:
1190:
1186:
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1181:
1178:
1176:
1173:
1171:
1170:
1166:
1164:
1161:
1158:
1154:
1151:
1150:
1146:
1144:
1141:
1139:
1136:
1133:
1131:
1130:
1126:
1124:
1123:Pineapple Bud
1121:
1118:
1114:
1111:
1110:
1107:
1104:
1102:
1099:
1097:
1096:
1092:
1090:
1087:
1083:
1081:
1080:
1076:
1074:
1071:
1069:
1066:
1064:
1060:
1058:
1057:
1056:Musa velutina
1053:
1051:
1048:
1045:
1041:
1038:
1037:
1033:
1030:
1028:
1025:
1022:
1019:
1017:
1014:
1011:
1007:
1004:
1003:
999:
997:
994:
992:
989:
987:
985:
981:
979:
976:
973:
969:
966:
965:
961:
958:
956:Hawaiian name
955:
952:
949:
946:
943:
940:
939:
933:
932:
931:
929:
925:
921:
912:
910:
908:
904:
899:
897:
893:
889:
885:
881:
877:
872:
870:
866:
862:
858:
854:
850:
845:
843:
839:
835:
831:
826:
824:
815:
813:
811:
807:
803:
799:
795:
791:
787:
783:
779:
775:
771:
767:
763:
755:
753:
751:
747:
743:
736:
734:
732:
728:
724:
716:
714:
712:
707:
702:
698:
694:
690:
683:
681:
679:
675:
671:
667:
662:
654:
652:
649:
648:Pineapple Bud
645:
641:
637:
636:
631:
630:
625:
624:Pineapple Bud
621:
620:
615:
614:
609:
604:
602:
598:
597:Pineapple Bud
594:
585:
583:
581:
577:
571:
569:
565:
561:
560:Henry McBride
556:
554:
546:
544:
541:
537:
533:
529:
528:Volcano House
525:
521:
517:
512:
510:
506:
502:
498:
494:
490:
489:
484:
480:
476:
472:
468:
464:
460:
456:
452:
448:
444:
440:
436:
432:
423:
413:
402:
393:
390:
384:
377:
375:
373:
372:
366:
362:
358:
354:
346:
342:
341:
335:
328:
326:
323:
322:Isamu Noguchi
319:
315:
311:
307:
302:
297:
294:
290:
286:
285:
280:
276:
275:Salvador Dalí
272:
271:Isamu Noguchi
268:
267:Henri Matisse
264:
260:
259:
254:
250:
241:
239:
237:
233:
229:
225:
221:
217:
214:white, using
207:
203:
200:
196:
192:
187:
182:
180:
176:
172:
167:
165:
161:
157:
153:
149:
145:
137:
135:
133:
129:
125:
119:
117:
116:Pineapple Bud
113:
109:
105:
101:
98:
94:
90:
86:
76:
72:
67:
63:
59:
55:
51:
47:
44:
40:
35:
30:
25:
22:Hawaii series
20:
4217:
4209:
4201:
4193:
4168:Eliot Porter
4153:Maria Chabot
4136:Ida O'Keeffe
4052:
4049: (1939)
4046:
4032:
4019:
4010:
4001: (1915)
3966:
3958:
3950:
3947: (1929)
3942:
3939: (1928)
3934:
3931: (1926)
3926:
3923: (1922)
3918:
3915: (1922)
3910:
3902:
3899: (1919)
3894:
3886:
3817:
3808:
3784:
3777:
3751:American Art
3750:
3743:
3716:
3693:
3684:
3656:
3631:
3623:
3586:
3579:
3552:
3529:
3506:
3488:
3473:
3445:
3420:
3395:
3378:
3367:
3354:
3324:
3300:
3276:
3269:
3231:
3214:
3204:
3193:
3183:the original
3178:
3151:
3128:
3121:Bibliography
3106:
3094:
3083:
3067:
3055:
3048:Saville 1990
3043:
3038:, pp. 18-19.
3036:Saville 1990
3031:
3015:
3008:Saville 1990
2988:
2960:, pp. 12-18.
2958:Saville 2011
2953:
2941:
2925:
2918:Saville 1990
2913:
2901:
2896:, pp. 27-48.
2889:
2877:
2870:Saville 1990
2865:
2860:, pp. 21-61.
2858:Saville 1990
2853:
2841:
2834:Saville 2011
2829:
2822:Saville 1990
2817:
2807:
2773:
2768:, p. 20, 64.
2766:Saville 1990
2761:
2756:, pp. 19-21.
2754:Saville 1990
2749:
2737:
2730:Saville 2011
2710:
2699:Saville 2012
2694:
2689:, pp. 19-20.
2687:Saville 2011
2661:
2654:Saville 2012
2645:
2640:, pp. 52-53.
2633:
2617:
2610:Saville 2012
2588:
2572:
2567:, pp. 30-31.
2561:Saville 1990
2556:
2544:
2532:
2525:Saville 2011
2510:Saville 2012
2505:
2498:Saville 1990
2493:
2488:, pp. 29-33.
2481:
2474:Saville 2011
2446:
2434:
2422:
2417:, pp. 11-13.
2415:Saville 1990
2402:, pp. 11-12.
2400:Saville 1990
2391:
2379:
2367:
2362:, pp. 29-33.
2351:
2346:, pp. 15-16.
2344:Saville 1990
2339:
2327:
2315:
2299:
2287:
2275:
2270:, pp. 52-53.
2263:
2247:
2231:
2197:
2184:
2172:
2163:
2155:
2150:
2141:
2131:
2123:
2110:
2101:
2090:
2080:
2072:
2068:
2045:
2037:
2031:
2024:
2016:
2008:
2000:
1992:
1984:
1976:
1968:
1960:
1952:
1944:
1930:
1922:
1914:
1906:
1898:
1884:
1878:
1871:
1865:
1858:
1852:
1845:
1835:
1828:
1822:
1815:
1809:
1802:
1792:
1785:
1779:
1772:
1762:
1755:
1749:
1742:
1732:
1725:
1715:
1708:
1702:
1695:
1689:
1682:
1676:
1669:
1659:
1652:
1646:
1639:
1633:
1626:
1616:
1606:
1596:
1569:
1557:
1552:
1522:
1517:
1499:Agricultural
1494:
1490:
1480:
1475:
1445:
1440:
1409:
1404:
1376:
1371:
1348:Chalice vine
1341:
1336:
1314:
1304:
1273:
1268:
1239:
1215:
1207:
1202:
1179:
1167:
1162:
1143:Agricultural
1137:
1127:
1122:
1093:
1067:
1054:
1049:
1020:
1015:
983:
977:
953:English name
927:
923:
919:
916:
906:
900:
887:
879:
875:
873:
860:
856:
848:
846:
841:
833:
827:
819:
809:
805:
801:
797:
793:
789:
785:
773:
769:
765:
761:
759:
749:
741:
740:
722:
720:
710:
705:
700:
688:
687:
669:
658:
647:
643:
639:
633:
627:
623:
617:
611:
607:
605:
600:
596:
592:
589:
572:
567:
563:
557:
552:
550:
513:
504:
500:
486:
482:
478:
466:
428:
389:Massie Trial
385:
381:
370:
360:
350:
339:
298:
282:
256:
245:
227:
212:
183:
174:
168:
152:life drawing
141:
127:
120:
115:
111:
82:
33:
4219:Ghost Ranch
4214:(2009 film)
4173:Paul Strand
4108:Ghost Ranch
3988:Early works
3968:Summer Days
3960:Jimson Weed
3474:Art Journal
2993:Volpe 2021b
2593:Peters 2006
2549:Bogart 1995
2427:Bogart 1995
2304:Wright 1996
2240:Wright 1996
2224:Wright 1996
1985:Ocean Shore
1892:Photographs
1763:White Lotus
1690:Bella Donna
1577:Photograph
1537:Photograph
1405:White Lotus
1163:Bella Donna
1138:Hala kahiki
1100:Calla lilly
944:Plant image
880:White Lotus
816:Exhibitions
756:Photographs
674:colonialism
670:Bella Donna
576:Ansel Adams
483:Bella Donna
479:Bella Donna
345:Aloha Tower
258:Jimson Weed
195:Alon Bement
144:Sun Prairie
4236:Categories
3928:Black Iris
3827:1880908743
3801:1245473527
3702:0937426113
3686:Christie's
3603:1414533846
3595:1887422110
3569:1021055485
3515:0520255135
3463:1057621726
3455:0500203407
3438:1288384046
3430:0826318347
3413:1082241056
3249:1369657418
3224:1033646492
3194:Humanities
3160:0226063070
3137:0520241878
3026:, pp. 6-7.
2934:Rosen 2018
2930:Cohen 2018
2894:Scott 2020
2793:Cass 1989.
2703:Tolpa 2011
2565:Scott 2020
2537:Scott 2020
2486:Scott 2020
2476:, pp. 7-8.
2360:Scott 2020
2332:Riley 1995
2280:Lisle 1997
2268:Lisle 1997
2256:Lisle 1997
2242:, pp. 4-7.
2236:Lisle 1997
2226:, pp. 4-7.
2208:References
1534:Ornamental
1457:Ornamental
1422:Ornamental
1386:Ornamental
1353:Ornamental
1319:Ornamental
1285:Ornamental
1251:Ornamental
1220:Ornamental
1184:Ornamental
1105:Ornamental
1031:Ornamental
996:Ornamental
959:Introduced
727:Iao Valley
717:Landscapes
574:letter to
516:Big Island
505:Papaw Tree
497:Iao Valley
475:jimsonweed
435:Reuben Tam
279:jimsonweed
138:Background
100:commission
4126:(husband)
4012:Red Canna
3880:Paintings
3759:1073-9300
3733:726821685
3546:835620238
3523:261173660
3341:726821685
3293:772844818
3088:Katz 2018
3078:, p. C13.
2884:, p. 121.
2780:, p. 537.
2744:, p. 293.
2624:, p. 32;
2563:, p. 13;
2527:, p. 101.
2374:, p. 427.
2334:, p. 168.
2310:, p. 189.
2294:, p. 189.
1634:Heliconia
1590:Paintings
1565:Sugarcane
1502:Painting
1460:Painting
1425:Painting
1389:Painting
1356:Painting
1288:Painting
1223:Painting
1216:Nānāhonua
1187:Painting
1180:Nānāhonua
1147:Painting
1134:Pineapple
1077:Painting
1034:Painting
1026:Heliconia
1021:Heliconia
1000:Painting
990:Heliconia
984:Heliconia
978:Heliconia
655:Paintings
540:Chow Chow
509:Haleakalā
501:Waterfall
148:Wisconsin
42:Housed at
4138:(sister)
4086:Santa Fe
3981:of works
3888:The Flag
3835:40639914
3710:23079609
3674:39732936
3649:45733574
3614:Phillips
3376:(1962).
3318:10185136
3168:31607925
3145:61362718
2920:, p. 67.
2872:, p. 17.
2824:, p. 64.
2812:, p. 42.
2732:, p. 20.
2705:, p. 35.
2500:, p. 13.
2441:, p. 11.
2322:, p. 14.
2308:Kuh 1962
2306:, p. 7;
2292:Kuh 1962
2282:, p. 53.
2258:, p. 53.
2192:and the
1750:Hibiscus
1372:Hibiscus
1311:Plumeria
857:Hibiscus
804:, 1957;
800:, 1956;
711:Hibiscus
706:Hibiscus
701:Hibiscus
697:Phillips
580:Yosemite
553:Matsonia
511:crater.
471:Kipahulu
316:painter
216:charcoal
4187:Related
4146:Friends
4076:Abiquiú
4065:Museums
3912:A Storm
3356:ARTnews
3010:, p. 7.
1411:Nelumbo
836:to the
684:Flowers
524:Kīlauea
371:Lurline
340:Lurline
186:measles
164:typhoid
91:in the
4117:Family
4096:Places
4037:(1917)
3979:Groups
3971:(1936)
3963:(1936)
3955:(1931)
3891:(1918)
3833:
3825:
3799:
3791:
3757:
3731:
3723:
3708:
3700:
3672:
3664:
3647:
3639:
3601:
3593:
3567:
3559:
3544:
3536:
3521:
3513:
3461:
3453:
3436:
3428:
3411:
3403:
3388:710851
3386:
3339:
3331:
3316:
3308:
3291:
3283:
3247:
3239:
3222:
3166:
3158:
3143:
3135:
2595:p. 16.
1885:CR 982
1872:CR 981
1859:CR 980
1846:CR 979
1829:CR 978
1816:CR 977
1803:CR 976
1786:CR 973
1773:CR 972
1756:CR 971
1743:CR 969
1726:CR 968
1709:CR 967
1696:CR 966
1683:CR 965
1670:CR 964
1653:CR 963
1640:CR 962
1627:CR 961
1491:Mīkana
1487:Papaya
1063:banana
926:, and
439:Kapaʻa
273:, and
158:under
3206:Artsy
2060:Notes
1584:Works
1574:Canoe
1417:Lotus
1315:Melia
1073:Canoe
1068:Mai'a
1061:Pink
962:Type
619:Vogue
431:Kauai
4020:Blue
3831:OCLC
3823:ISBN
3797:OCLC
3789:ISBN
3755:ISSN
3729:OCLC
3721:ISBN
3706:OCLC
3698:ISBN
3670:OCLC
3662:ISBN
3645:OCLC
3637:ISBN
3624:Time
3599:OCLC
3591:ISBN
3565:OCLC
3557:ISBN
3542:OCLC
3534:ISBN
3519:OCLC
3511:ISBN
3459:OCLC
3451:ISBN
3434:OCLC
3426:ISBN
3409:OCLC
3401:ISBN
3384:OCLC
3337:OCLC
3329:ISBN
3314:OCLC
3306:ISBN
3289:OCLC
3281:ISBN
3245:OCLC
3237:ISBN
3220:OCLC
3164:OCLC
3156:ISBN
3141:OCLC
3133:ISBN
2810:1940
2808:Time
2084:See
1495:hē'ī
1023:spp.
986:spp.
859:and
842:Time
802:Road
788:and
595:and
532:Kona
520:Hilo
459:Hana
451:Maui
312:and
284:Life
114:and
108:Dole
3763:doi
2094:947
1610:960
1414:sp.
369:SS
338:SS
4238::
3829:.
3795:.
3776:.
3761:.
3742:.
3727:.
3704:.
3683:.
3668:.
3643:.
3622:.
3597:.
3578:.
3563:.
3540:.
3517:.
3487:.
3476:.
3472:.
3457:.
3432:.
3407:.
3366:.
3353:.
3335:.
3312:.
3287:.
3268:.
3243:.
3203:.
3192:.
3177:.
3162:.
3139:.
3000:^
2965:^
2932:;
2799:^
2785:^
2722:^
2673:^
2652:;
2600:^
2517:^
2462:^
2407:^
2216:^
2130:.
2092:CR
1843:.
1800:.
1770:.
1740:.
1723:.
1667:.
1624:.
1608:CR
1604:.
1570:Kō
1542:14
1507:13
1493:,
1465:12
1430:11
1394:10
922:,
909:.
871:.
840:.
680:.
538:,
503:,
269:,
146:,
4088:)
4084:(
4078:)
4074:(
3865:e
3858:t
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3837:.
3803:.
3769:.
3765::
3735:.
3712:.
3676:.
3651:.
3605:.
3571:.
3548:.
3525:.
3465:.
3440:.
3415:.
3390:.
3343:.
3320:.
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3251:.
3226:.
3170:.
3147:.
3101:.
2983:.
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2848:.
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2583:.
2457:.
1361:9
1326:8
1258:7
1192:6
1152:5
1112:4
1039:3
1005:2
967:1
941:№
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