So Many Colors to See!

Lesson Plan


Students will closely examine the colors in Georgia O’Keeffe’s Petunia and Glass Bottle. They will then explore color by adding different amounts of white and black paint to a base color to create different hues of that color.

Intended Age Group

Early childhood (ages 3-5)

Length of Lesson

One 45 minute lesson

Standards Area

Visual Arts


Students will be able to:

  • list at least five visual details in the painting Petunia and Glass Bottle;
  • explain how an object/image that seems to be just one color is often made up of many different colors; and
  • feel comfortable adding white and black paint to a base color in small amounts to gradually change the base color.


  1. Preparation: Read the About the Art section on Petunia and Glass Bottle, in particular the “Details" information.
  2. Warm-up: Have the children list as many colors as they can think of and then find those colors in objects around the room. Ask the children to examine the objects in the room more closely. Can find new colors in addition to the one that’s immediately apparent? Try moving the objects to areas with different types of lighting to see if new colors emerge.
  3. Have the children look at the O’Keeffe painting. After talking about the objects in the painting, guide the students to find as many different hues of color as possible. You can enlarge the image significantly on a computer to see the individual pixels in the image. You may also use a magnifying glass to look more closely for different colors.
  4. Have the children begin exploring color and hue with paint. Have them start with one primary color of paint and add bits of white to get different hues of that color. Start with the base color again and have the children add bits of black. Ask them to talk about the changes. If possible, have them paint a sample of each different color on a piece of paper before adding the next bit of white or black. There’s no need to worry about precision. The intent is to have the students appreciate the subtleties of color.
  5. Hold up samples of the mixed colors and ask the children to talk about what they notice.


  • Paint smocks
  • Paper for painting
  • White and black paint
  • Paints in a variety of colors
  • Paintbrushes
  • Materials for clean up
  • About the Art section on Petunia and Glass Bottle
  • Color copies of Petunia and Glass Bottle for students to share, or the ability to project the image onto a wall or screen


CO Standards

  • Visual Arts
    • Invent and Discover to Create
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer

21st Century Skills

  • Critical Thinking & Reasoning
  • Invention
  • Self-Direction

About the Art

Petunia and Glass Bottle

Petunia and Glass Bottle


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?

Flowers were one of O’Keeffe’s primary subjects—she made over 200 paintings of them. Many of the paintings are close-up views but some, like this one, show simple arrangements of one or two blooms in a vase. “When you take a flower in your hand and really look at it, it’s your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not,” she said.


Point of View
Point of View

O’Keeffe spent a great deal of time closely observing and examining flowers. Notice that she painted one petunia in a frontal view and the other from the side as they both drooped gently over the top of the glass vase.


“Color is one of the great things in the world that makes life worth living to me,” said O’Keeffe. She loved color. She planted a bed of petunias at Lake George just to study the color purple. She painted the flowers shown here in a richly saturated purple with pink highlights and black accents. The contents of the vase are equally colorful—the stems form a pattern of lines and gradations of green. The background, too, is infused with multiple colors of white, light purple, and bluish-green. O’Keeffe often used a separate brush for each color so the colors wouldn’t get muddied or blend together.


O’Keeffe kept this composition clean and free of extraneous detail. There are two flowers, one vase, and a background without any other objects, and there is little suggestion of depth. “Details are confusing,” she said. “It is only by selection, by elimination, by emphasis that we get at the real meaning of things.”

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.