The Role of Georgia O'Keeffe in Photography Conservation: A Pioneer Ahead of Her Time

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Event

Start Date

8-3-2026 11:12 AM

Description

Speakers: Mireya Arenas Patiño and María Sobrino Estalrich

This paper discusses the artist Georgia O'Keeffe, widely known as one of the most influential artists of the 20th century, particularly due to her extensive pictorial production. However, she always maintained a strong connection with photography. This connection existed not only because of her relationship with her husband, Alfred Stieglitz, considered the father of Modern photography, but also because she herself was a talented photographer. However, another aspect of O'Keeffe’s photography often goes unnoticed that we would like to highlight: her interest and concern for the conservation of both her husband’s work and her own. For this reason, she can be considered a pioneer in the field of photography conservation. After Stieglitz’s death in 1946, O'Keeffe, with the help of Doris Bry, organised and distributed the photographer's legacy among various public collections (Mulligan 2000). O'Keeffe developed pioneering recommendations for the care, storage, and exhibition of Alfred Stieglitz’s photographic collection (Herrera, 2009). These actions reflect her early awareness of the importance of preserving photography as an artistic heritage, positioning her as a pioneer in the development of conservation practices in the field of photography.

Mireya Arenas Patiño is a UCM PhD holder with a Graduate degree in Fine Arts with an itinerary in Conservation and Restoration of Cultural Assets (UCM) and Master’s degrees in Conservation of Cultural Heritage (UCM) and in Teacher Training. She is a professor (PAD) in the Department of Painting and Conservation-Restoration at the Faculty of Fine Arts (UCM) and Member of the FotoART research team. Her academic and professional activities follow a common line of action in relation to the field of conservation and restoration of contemporary photographic work.

vMaría Sobrino Estalrich completed her university degree and master’s degree at the Universitat Politècnica de Valencia (UPV) and is currently pursuing a PhD within the Doctoral Program in Conservation and Restoration at the same university. Her thesis research is part of the European Project GreenArt, and she also collaborates as a researcher at the UPV. Her field of study focuses on the restoration of graphic artworks and research of new materials.

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Mar 8th, 11:12 AM

The Role of Georgia O'Keeffe in Photography Conservation: A Pioneer Ahead of Her Time

Speakers: Mireya Arenas Patiño and María Sobrino Estalrich

This paper discusses the artist Georgia O'Keeffe, widely known as one of the most influential artists of the 20th century, particularly due to her extensive pictorial production. However, she always maintained a strong connection with photography. This connection existed not only because of her relationship with her husband, Alfred Stieglitz, considered the father of Modern photography, but also because she herself was a talented photographer. However, another aspect of O'Keeffe’s photography often goes unnoticed that we would like to highlight: her interest and concern for the conservation of both her husband’s work and her own. For this reason, she can be considered a pioneer in the field of photography conservation. After Stieglitz’s death in 1946, O'Keeffe, with the help of Doris Bry, organised and distributed the photographer's legacy among various public collections (Mulligan 2000). O'Keeffe developed pioneering recommendations for the care, storage, and exhibition of Alfred Stieglitz’s photographic collection (Herrera, 2009). These actions reflect her early awareness of the importance of preserving photography as an artistic heritage, positioning her as a pioneer in the development of conservation practices in the field of photography.

Mireya Arenas Patiño is a UCM PhD holder with a Graduate degree in Fine Arts with an itinerary in Conservation and Restoration of Cultural Assets (UCM) and Master’s degrees in Conservation of Cultural Heritage (UCM) and in Teacher Training. She is a professor (PAD) in the Department of Painting and Conservation-Restoration at the Faculty of Fine Arts (UCM) and Member of the FotoART research team. Her academic and professional activities follow a common line of action in relation to the field of conservation and restoration of contemporary photographic work.

vMaría Sobrino Estalrich completed her university degree and master’s degree at the Universitat Politècnica de Valencia (UPV) and is currently pursuing a PhD within the Doctoral Program in Conservation and Restoration at the same university. Her thesis research is part of the European Project GreenArt, and she also collaborates as a researcher at the UPV. Her field of study focuses on the restoration of graphic artworks and research of new materials.