Georgia Totto O'Keeffe

The New Netherland Ancestors of

GEORGIA TOTTO O'KEEFFE,

the wife of

ALFRED STIEGLITZ



- for Georgia Totto O'Keeffe

Artist



- for Alfred Stieflitz

Photographer





       __Francis Calyxtus O'Keeffe8,9
      |
GEORGIA TOTTO O'KEEFFE8,9
the wife of ALFRED STIEGLITZ
      |
      |     __George Victor Totto7,9
      |    |
      |__Ida Ten Eyck Totto8,9
	   |
	   |                              __Pieter Claeszen Wyckoff1
	   |                             |
	   |                         __Cornelis Wyckoff2
	   |                        |    |
	   |                        |    |     __Cornelis Hendrickszen Van Ness1
	   |                        |    |    |
	   |                        |    |__Grietje Van Ness1
	   |                        |         |
	   |                        |         |__Maryken Van den Burchgraeff1
	   |                        |
	   |                    __Jan Wyckoff3,18
	   |                   |    |
	   |                   |    |     __Symon Janszen Van Arsdale2,16
	   |                   |    |    |
	   |                   |    |__Geertje Simons Van Arsdale2,16
	   |                   |         |
	   |                   |         |     __Claes Corneliszen [Van Schouwen]16
	   |                   |         |    |
	   |                   |         |__Pietertje Claes2,16
	   |                   |              |
	   |                   |              |__(__)
	   |                   |
	   |               __Jacob Wyckoff4
	   |              |    |
	   |              |    |               __Marten Schenck
	   |              |    |              |
	   |              |    |          __Roelof Martenszen Schenck20
	   |              |    |         |    |
	   |              |    |         |    |__(__)
	   |              |    |         |
	   |              |    |     __Jan Roelofse Schenck14,18,20
	   |              |    |    |    |
	   |              |    |    |    |          __Wolfert Gerritszen [Van Kouwenhoven]20
	   |              |    |    |    |         |
	   |              |    |    |    |     __Gerrit Wolfertszen Van Couwenhoven20
	   |              |    |    |    |    |    |
	   |              |    |    |    |    |    |__Neeltgen Jacobs20
	   |              |    |    |    |    |
	   |              |    |    |    |__Neeltje Gerritse Van Couwenhoven20
	   |              |    |    |         |
	   |              |    |    |         |     __Cornelis Lambertszen Cool20
	   |              |    |    |         |    |
	   |              |    |    |         |__Aeltje Cornelise Cool20
	   |              |    |    |              |
	   |              |    |    |              |__(__)20
	   |              |    |    |
	   |              |    |__Neeltje Schenck3,18
	   |              |         |
	   |              |         |     __Steven Koerts Van Voorhees14,17
	   |              |         |    |
	   |              |         |__Jannetje Stevense Van Voorhees14,18
	   |              |              |
	   |              |              |     __Roelof Seubering13
	   |              |              |    |
	   |              |              |__Willemtje Roelofse Seubering14,17
	   |              |                   |
	   |              |                   |__(__)13
	   |              |
	   |          __Abraham Wyckoff5
	   |         |    |
	   |         |    |__(Catalytie or Jannetje) (__)4
	   |         |
	   |     __Charles Wyckoff6,9
	   |    |    |
	   |    |    |__Isabella Dunham5
	   |    |
	   |__Isabella Dunham Wyckoff7,9
		|
		|          __Jeremiah Field9,21
		|         |
		|     __John Field9,21
		|    |    |
		|    |    |                    __Roelof Seubering13
		|    |    |                   |
		|    |    |               __Jan Roelofszen Seubering12
		|    |    |              |    |
		|    |    |              |    |__(__)13
		|    |    |              |
		|    |    |          __Johannes Janszen Sebring11
		|    |    |         |    |
		|    |    |         |    |     __Johannes Theodorus Polhemus12
		|    |    |         |    |    |
		|    |    |         |    |__Adrianna Polhemus12
		|    |    |         |         |
		|    |    |         |         |__Catharine Van der Werven12
		|    |    |         |
		|    |    |     __Leffert Sebring10
		|    |    |    |    |
		|    |    |    |    |          __Pieter Janszen Haughwout19
		|    |    |    |    |         |
		|    |    |    |    |     __Leffert Pieterszen11,19
		|    |    |    |    |    |    |
		|    |    |    |    |    |    |__Femmetje Hermans
		|    |    |    |    |    |
		|    |    |    |    |__Aeltie Lefferts11,15
		|    |    |    |         |
		|    |    |    |         |     __Aucke Janszen Van Nuyse19
		|    |    |    |         |    |
		|    |    |    |         |__Abigail Aukes11,19
		|    |    |    |              |
		|    |    |    |              |__Magdalena Pieterse19
		|    |    |    |
		|    |    |__Sophia Sebring9,21
		|    |         |
		|    |         |     __Jacob De Groot10
		|    |         |    |
		|    |         |__Jannetie De Groot10
		|    |              |
		|    |              |__Lythie (__)10
		|    |
		|__Alletta May Field6,9,21
		     |
		     |__Ida Ten Eyck9,21



Look at the code for this diagram. 
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Biography of GEORGIA TOTTO O'KEEFFE

 
Georgia O'Keeffe was born on November 15, 1887, the second of seven children, and grew up on a farm in Sun Prairie, Wisconsin. As a child she received art lessons at home, and her abilities were quickly recognized and encouraged by teachers throughout her school years. By the time she graduated from high school in 1905, O'Keeffe had determined to make her way as an artist.

O'Keeffe pursued studies at the Art Institute of Chicago (1905-1906) and at the Art Students League, New York (1907-1908), where she was quick to master the principles of the approach to art-making that then formed the basis of the curriculum-imitative realism. In 1908, she won the League's William Merritt Chase still-life prize for her oil painting Untitled (Dead Rabbit with Copper Pot). Shortly thereafter, however, O'Keeffe quit making art, saying later that she had known then that she could never achieve distinction working within this tradition.

Her interest in art was rekindled four years later when she took a summer course for art teachers at the University of Virginia, Charlottesville, taught by Alon Bement of Teachers College, Columbia University. Bement introduced O'Keeffe to the then revolutionary ideas of his colleague at Teachers College, artist and art educator Arthur Wesley Dow.

Dow believed that the goal of art was the expression of the artist's personal ideas and feelings and that such subject matter was best realized through harmonious arrangements of line, color, and notan (the Japanese system of lights and darks). Dow's ideas offered O'Keeffe an alternative to imitative realism, and she experimented with them for two years, while she was either teaching art in the Amarillo, Texas public schools or working summers in Virginia as Bement's assistant.

O'Keeffe was in New York again from fall 1914 to June 1915, taking courses at Teachers College. By the fall of 1915, when she was teaching art at Columbia College, Columbia, South Carolina, she decided to put Dow's theories to the test. In an attempt to discover a personal language through which she could express her own feelings and ideas, she began a series of abstract charcoal drawings that are now recognized as being among the most innovative in all of American art of the period. She mailed some of these drawings to a former Columbia classmate, who showed them to the internationally known photographer and art impresario, Alfred Stieglitz, on January 1, 1916.

Stieglitz began corresponding with O'Keeffe, who returned to New York that spring to attend classes at Teachers College, and he exhibited 10 of her charcoal abstractions in May at his famous avant-garde gallery, 291. A year later, he closed the doors of this important exhibition space with a one-person exhibition of O'Keeffe's work. In the spring of 1918 he offered O'Keeffe financial support to paint for a year in New York, which she accepted, moving there from Texas, where she had been affiliated with West Texas State Normal College, Canyon, since the fall of 1916. Shortly after her arrival in June, she and Stieglitz, who were married in 1924, fell in love and subsequently lived and worked together in New York (winter and spring) and at the Stieglitz family estate at Lake George, New York (summer and fall) until 1929, when O'Keeffe spent the first of many summers painting in New Mexico.

From 1923 until his death in 1946, Stieglitz worked assiduously and effectively to promote O'Keeffe and her work, organizing annual exhibitions of her art at The Anderson Galleries (1923-1925), The Intimate Gallery (1925-1929), and An American Place (1929-1946). As early as the mid-1920s, when O'Keeffe first began painting large-scale depictions of flowers as if seen close up, which are among her best-known pictures, she had become recognized as one of America's most important and successful artists.

Three years after Stieglitz's death, O'Keeffe moved from New York to her beloved New Mexico, whose stunning vistas and stark landscape configurations had inspired her work since 1929. She lived at her Ghost Ranch house, which she purchased in 1940, and at the house she purchased in Abiquiu in 1945. O'Keeffe continued to work in oil until the late 1970s, when failing eyesight forced her to abandon painting. Although she continued working in pencil and watercolor until 1982, she also produced objects in clay until her health failed in 1984. She died two years later, at the age of 98.

- from the Georgia O'Keeffe Museum website
 


 


Biography of ALFRED STIEGLITZ

 
Alfred Stieglitz, was born in January 1st, 1864, in Hoboken, New Jersey, and died in July 13th, 1946, in New York City. He was passionate advocate of photography as an art and a pioneer in exhibitions of modern art in the United States. In 1902 Stieglitz founded the Photo-Secession Group, as a protest against the conventional photography of the time. Stieglitz's best work are the series of prints of his wife, the painter Georgia O'Keeffe, and his studies of cloud patterns suggesting emotions. After his early schooling in New York, he moved, with his family, to Europe in 1881, to further his and his brothers' education. Stieglitz started his studies in mechanical engineering, at the Berlin Polytechnic, in 1883. A few months later, the purchase of a small camera led him to abandon engineering for photo-chemistry and to begin his photographic career. While in Berlin, where many of his friends were painters, Stieglitz decided to fight for the recognition of photography as an creative art medium equal to painting. The best way to achieve this, he reasoned, was to become a photographic authority, which he believed could only be granted if he set the highest standards for his own prints and win all possible prizes and medals. His early work, both in Europe and in the United States, where he returned in 1890, reflect this approach, being characterized by constant innovations which were, at the time, believed impossible to achieve. For example, he made, before the turn of the century, the first successful photographs of snow, rain and at night, while undertaking the first use of a small hand-held camera. By 1910, these photos had won many important prizes. Realizing that his fame alone could not bring about the recognition of photography as art, Stieglitz decided that, eventually, the work of a group could be more effective than the work of an individual. He therefore created a new group, in 1902, the Photo-Secession, a title adapted from the German Secessionist painters who, at the time, were also revolting against the traditional art world. Stieglitz gathered around him a group of talented American photographers, with whom he shared his ideals. In 1905, urged by Edward Steichen, the Photo-Secession opened its own space for exhibitions, initially called Little Galleries of the Photo-Secession, in NY, but later known by its street number, the "291". Stieglitz became so envolved with his work in this gallery that he often signed his personal correspondence "291". At this time, Stieglitz turned his immense energy and intelligence to the cause of modern art. In 1908, in a country marked by it's dependence on the academic art in Europe, the "291" had already held shows of works by the sculptor Auguste Rodin and the paiter Henri Matisse; he also held shows by the painters Toulouse-Lautrec, Henri Rousseau, Paul Cizanne and Pablo Picasso. In 1913, he held the famous Armory Show, often considered to have introduced modern art to the United States. Stieglitz vigorously promoted, along with the European art, shows of emerging American artists, namely of the sculptors Constantin Brancusi and Elie Nadelman, and the painters Francis Picabia, Gino Severini, Stanton Macdonald-Wright and Georgia O'Keefe, who was to become his wife in 1924. For the most part these exhibitions were viewed by a hostile and derisive public. With the closing of "291", in 1917, and of his own magazine, Camera Work (1903 - 1917), Stieglitz became once more envolved with his own photography, neglected during the years of the gallery. He then produced the best of his work. Stieglitz' preoccupation with his photography did not deter him from continuing to hold shows of American artists, thus helping them to survive and giving them the freedom to work as they wished. When the artists he promoted became commercially successful, he ceased working for them, for he was not a dealer and never profited financially from his activities for artists. Stieglitz broke down the barriers against photography in American art museums, his prints being the first photographs accepted as art and received as such by major museums in Boston, New York City and Washington D.C. In those museums, Stieglitz photos were hung and shown in the same manner as other notable works in the graphic arts.

- from the Photoceania website
 


 


Notes and Sources


   1.  The Wyckoff House & Association, Inc., The Wyckoff Family in America -
       A Genealogy in Two Volumes, Third Edition.  Volume Two.  Baltimore,
       Gateway Press, Inc., 1980.  4.
   2.  Ibid., p. 35.
   3.  Ibid., p. 36.
   4.  Ibid., p. 41.
   5.  Ibid., p. 52.
   6.  Ibid., p. 70.
   7.  Ibid., p. 106.
   8.  Ibid., p. 158.
   9.  Sebring, Walter Nilson, and John Cletus Sebring, Sebring Collections:
       The Genealogy and History of the Family.  Kansas City:  Yearbook House,
       Inc., 1975.  137.
  10.  Ibid., p. 73.
  11.  Ibid., p. 69-70.
  12.  Ibid., p. 12-21.
  13.  Ibid., p. 4.
  14.  Ibid., p. 5-7.
  15.  The Lefferts Genealogy lists Aeltje as dying single.  The Sebring
       Collections offers supporting evidence to refute this claim.
  16.  Hoffman, William J., "Claes Cornelissen Van Schouw(en), Meutelaer and the
       Wyckoff Ancestry," The American Genealogist, 22 (1945):  65-71.
  17.  Christoph, Florence A., The Van Voorhees Family in America:  The First
       Six Generations.  Baltimore:  Gateway Press, 2000.  1-2.
  18.  Ibid., p. 9-10.
  19.  Hoff, Henry B., C.G., F.A.S.G., F.G.B.S., Harmon and William Johnson of
       Hempstead, Long Island, and their Lefferts, Haughwout, Peterson and
       Gritman Relatives," The New York Genealogical and Biographical Record,
       130 (1999):  83-89.
  20.  Cocheu, Lincoln C. "The Van Kouwenhoven-Conover Family."  The New York
       Genealogical and Biographical Record, 70 (1939):  230-225, 353-356; 71
       (1940):  69-74, 157-162, 273-276, 365-367; 81 (1950):  123-125, 172-178,
       225-230; 82 (1951):  34-42, 89-97, 175-183, 211-236; 83 (1952):  86-91,
       147-152.
  21.  The ancestry of Ida Ten Eyck is unknown at present.  Her suspected
       parents, Jeremiah Field Ten Eyck and Jane Van Arsdalen, would only have
       been about 16 when she was born (plausible for the mother, but unlikely
       for the father).  The Field Genealogy [Pierce, Frederick Clifton,
       Field Genealogy Being The Record Of All The Field Family In America,
       Whose Ancestors Were In This Country Prior To 1700.  Emigrant Ancestors
       Located In Massachusetts, Rhode Island, New York, New Jersey, New
       Hampshire, Virginia.  All Descendants Of The Fields Of England, Whose
       Ancestor, Hurbutus De la Field, Was From Alsace-Lorraine.  Volume I.
       Chicago: Hammond Press W.B. Conkey Company, 1901] does not mention
       a John Field, son of Jeremiah Field and Sophia Sebring, nor does it
       mention a marriage between John Field and Ida Ten Eyck.  The ancestry of
       Alletta May Field as shown abouve should be viewed with caution.
       

       A special thanks goes out to Pam Sears for sharing her research and
       thoughts with me concerning the parentage of Alletta May Field.

 

First uploaded ## datedates 200#

Last Modified  Saturday, 08-Sep-2018 18:03:15 MDT

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