Extensive literature examines the photographs taken by Alfred Stieglitz of his wife, Georgia O'Keeffe. On the other hand, less scholarly interest has focused on Thomas Eakins' photographs of his wife, Susan Macdowell Eakins. This thesis examines both artists' photographs of their wives and concludes that they reflect the profound feelings both men held for their spouses.;In order to demonstrate the intimacy between artist and wife, this thesis will examine photographs Eakins took of other men and women and compare them to ones he took of Macdowell. Similarly, this thesis also examines the photographs Stieglitz took of other women and contrasts them to ones he took of O'Keeffe. In so doing, this thesis demonstrates that many of the unique attributes of the wives' portraits are not evident in Eakins' and Stieglitz's work with other subjects. By comparing Stieglitz's and Eakins' portraits of their wives in such a manner, this thesis will demonstrate that both artists revealed in their work a deep affection and admiration for their wives.;In addition, this thesis will examine the lives of both artists. Their backgrounds prove important in studying the development of their methods and practices in their art work. Their personal histories affected their approach to photography and women. They shared several common traits in their backgrounds. They both were influenced by their time in Europe. Further, both artists would become absorbed in the possible linkages between photography and art. They both were unyielding in their own ideals. Eakins and Stieglitz were important in the development of American art and this thesis will broadly underscore this view.;By way of further background, this thesis will also touch upon the prevailing societal views of women and art during the late nineteenth- and early twentieth-centuries. This will provide a solid foundation from which to examine the photographs of the artists' wives and how their portraits fit into the prevailing views of women at the time.;While this paper focuses on the photographs of Stieglitz and Eakins, there is important reason to mention the artists' wives as individuals. Their wives were artists themselves. While one put her career on hold after marriage in keeping with Victorian mores, and the other continued to make her own mark artistically after marriage as befit a twentieth-century woman, they both played special roles in their artists-husbands' lives, personally and professionally. In fact, Susan Macdowell Eakins and Georgia O'Keeffe provided the support, encouragement and inspiration that their husbands most needed to continue with their work in pioneering new art forms in America. The wives truly were muses and made it possible for their husbands to create beautiful and enduring works. Even though Stieglitz and Eakins had different approaches to their work, they had a number of striking similarities, particularly in representing their wives in an affectionate, loving way.
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