A Cow’s Tale

Lesson Plan


Students practice taking on the perspective of someone else and apply that ability to take on the perspective of the cow in O’Keeffe’s Cow Licking. They will use this perspective to write a story about the cow in the painting. They will peer edit and revise their writing to create a refined finished product.

Intended Age Group

Elementary (grades K-5)

Length of Lesson

One 45 minute lesson

Standards Area

Language Arts


Students will be able to:

  • list at least five visual details in the painting Cow Licking;
  • identify different expressions and stories that are hinted at in Cow Licking;
  • feel comfortable taking creative risks to write a story inspired by the painting; and
  • work with a partner to peer edit and make revisions based on feedback.


  1. Preparation: Read the About the Art section on Cow Licking, in particular the “Details” section.
  2. Warm-up: Students will work in groups of two, taking on the perspective of their partner and telling a short story about their morning from that perspective.
  3. Show the students O’Keeffe’s painting. Have them look closely at the details pointed out in the “Details” section of the About the Art section and at O’Keeffe’s style of filling the canvas with the image.
  4. Share that images can often inspire feelings and stories in the viewer. Ask students to think about what stories Cow Licking might remind them of. Have them share some of their ideas. Then ask them if the painting inspires any original feelings or story ideas. Give them time to share their thoughts with a partner.
  5. Have students take on the perspective of the cow and write a story about eating the grapes. They should include the essential components of a story, such as a setting, beginning, middle, end, and some type of conflict that’s being resolved.
  6. Give students time to peer edit their stories with a partner. They should look closely for whether or not the stories capture the cow’s thoughts and/or emotions. Does the author use vivid words? You may choose whether or not to attend to grammar, depending on the ability of the students and the current focus of the writing program.
  7. Have students share the edited stories in groups of four to five.
  8. Call on student volunteers to read their stories to the class.


  • Pencils and paper
  • About the Art section on Cow Licking
  • Color copies of Cow Licking for students to share, or the ability to project the image onto a wall or screen


CO Standards

  • Visual Arts
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer
  • Language Arts
    • Oral Expression and Listening
    • Research and Reasoning
    • Writing and Composition

21st Century Skills

  • Critical Thinking & Reasoning
  • Invention
  • Self-Direction

About the Art

Cow Licking

Cow Licking


Georgia O'Keeffe

Who Made It?

Georgia O’Keeffe was a woman ahead of her time: independent, adventurous, and radically creative. Her paintings of abstract forms, flowers, architecture, landscapes, and bones earned her a reputation as a pioneering modern American artist.

O’Keeffe was born in Sun Prairie, Wisconsin, in 1887, and her early years living on the family’s dairy farm initiated a lifelong appreciation of nature. She declared in 8th grade that she wanted to be an artist, and after learning to draw in her art classes at school, she went on to study drawing and painting more formally in Virginia, New York, and Chicago.

In 1912, while O’Keeffe was enrolled in a summer drawing class at the University of Virginia, she was introduced to the ideas of artist and educator Arthur Wesley Dow. Dow thought that artists should “fill a space in a beautiful way” rather than try to copy directly from nature. He offered advice on organizing and balancing shapes, lines, and colors in the composition; simplifying forms; and balancing dark and light. O’Keeffe adapted these tools to her own work, producing a series of abstract charcoal drawings that were like nothing she had ever done before. Of her newfound discovery of abstraction, she expressed that “It was like learning to walk. I was alone and singularly free, no one to satisfy but myself." These principles went on to permeate all of her future work.

O’Keeffe shared her abstract charcoal drawings with a friend from art school, who, in 1916, took them to Alfred Stieglitz without O’Keeffe’s knowledge or permission. Stieglitz was a photographer and owner of the influential art gallery 291 in New York City, where the cutting-edge work of contemporary American and European artists was exhibited. He included O’Keeffe’s drawings in a group exhibition, officially launching her career in the public eye. The two went on to form a relationship and eventually marry in 1924 and were among the most well-known advocates of modern art in America.

O’Keeffe’s career spanned nearly six decades. Reflecting on her career at age 90, O’Keeffe said, “It takes more than talent. It takes a kind of nerve…A kind of nerve, and a lot of hard, hard work.”

What Inspired It?

A dairy cow is an unusual subject for O’Keeffe, who rarely included people or animals in her work. But a cow was no stranger to O’Keeffe, who spent her childhood on a dairy farm in Wisconsin. She also would have known cattle from her years of teaching art in Amarillo, Texas, during her twenties. This particular cow was likely inspired by one she saw on her many stays in the upstate resort area of Lake George, New York, where she regularly spent summers with her husband, Alfred Stieglitz, and his family.

O’Keeffe’s work was often inspired by her surroundings. In the 1920s she painted the skyscrapers of New York, where she lived with Stieglitz. She experimented with close-up views of flowers that she occasionally glimpsed in the city and saw in abundance at Lake George. In 1929 she began summering in New Mexico—moving there permanently in the 1940s after Stieglitz’s death—and depicted the crosses, landscapes, architecture, and other aspects of her adopted home in colorful paintings. And when she began to travel the world in her later years, she painted her interpretation of the view from the airplane, above the clouds.


Unusual View
Unusual View

The cow’s head takes up the entire length and width of the 20x12-inch canvas and is shown in perfect profile against a plain background. The head forms a triangular shape on the canvas, beginning with the narrower tongue and snout and widening toward the skull and ears at the bottom of the composition.

Curious Tongue
Curious Tongue

Do you see the vibrant green grapes dangling from the top of the composition? The cow’s curved pink tongue reaches out from its parted lips as it tries to get a taste of the juicy fruits above.

Cow’s Eye
Cow’s Eye

Notice the large eye staring directly out at you as the tongue reaches up to taste the grapes. Have we caught the cow in the act of pilfering the grapes?

Vivid Color
Vivid Color

“Color is one of the great things in the world that makes life worth living to me,” said O’Keeffe. She loved color. Variations of rich greens and pinks saturate the canvas and contrast with the black and white of the cow’s head. Notice the soft pink color of the nostril and the thin crescent of blue above the large pupil of the cow’s eye.

Curved Lines
Curved Lines

There isn’t a straight line to be found in this painting. The rounded eye, the jaw lines, the arch of the tongue, the oval nostrils, the plump grapes, and even the pattern of fur colors are made of smooth, curved lines. O’Keeffe often used the curved line as a repeating form in her drawings and paintings.

Funding for lesson plans provided by a grant from the Morgridge Family Foundation. Additional funding provided by the William Randolph Hearst Endowment for Education Programs, and Xcel Energy Foundation. We thank our colleagues at the University of Denver Morgridge College of Education.