How are Frida Kahlo and Georgia O'Keefe alike?

Modern painters Frida Kahlo and, Georgia O'Keeffe are among the top 20th century artists. And they were similar in many ways.
Kahlo and O’Keefe’s work were both intensely personal. Similarly, they created art that expressed intimacy and was heavily inspired by their own perspective of femininity.
While Kahlo did mostly small work, using surrealist techniques for her self-portraits, O’Keefe used large canvasses to paint flowers that hinted at female sex organs.
Kahlo and O’Keefe did, in fact, know each other.
A letter written from Kahlo to O’Keefe in 1933 stated,
I thought of you a lot and never forget your wonderful hands and the color of your eyes. I will see you soon. I am sure that in New York I will be much happier. If you still in the hospital when I come back I will bring you flowers, but it is so difficult to find the ones I would like for you. I would be so happy if you could write me even two words. I like you very much Georgia ... (Kahlo, 1933)
Both were married to well-known artists and both endured complex, and at times troubling, marriages. Many would argue that both Kahlo and O'Keefe are more widely known and appreciated than their husbands now.
Kahlo and O’Keefe both share iconic status today, thanks to their work that changed the way people talk about Modernist art.

While the work of Georgia O'Keeffe (1887-1986) differs quite a bit in style from that of Frida Kahlo (1907-1954,) the two artists have more in common than meets the eye. Both women were married to famous artists – O'Keeffe to Alfred Stieglitz and Kahlo to Diego Rivera – and both often found themselves living in their husbands’ shadows. O'Keeffe is considered a semi-abstractionist and Kahlo a semi-surrealist, both with an air of sensuality and – one might say – daring feminism for the time in which they lived, a time when women had to fight to be taken seriously in the art world. Perhaps it was this fight that lead them both to create such personal and non-conformist work.
O’Keeffe and Kahlo were more than just contemporaries; they actually knew one another, although the extent and nature of their closeness is left largely to conjecture. There is, however, a documented letter from Kahlo to O’Keefe, penned in 1933, offering comfort in the wake of a nervous breakdown. O’Keeffe had failed to successfully complete a mural commissioned by Radio City Music Hall and – in the aftermath of her breakdown – had relocated to Bermuda for recovery. She didn’t paint for a year after the incident. In her letter, Kahlo wrote:
“I would like to tell you every thing that happened to me since the last time we saw each other, but most of them are sad and you mustn't know sad things now. After all I shouldn't complain because I have been happy in many ways though. Diego is good to me, and you can't imagine how happy he has been working on the frescoes here. I have been painting a little too and that helped. I thought of you a lot and never forget your wonderful hands and the color of your eyes.”

Frida Kahlo (1907-54) and Georgia O'Keeffe (1887-1986) were both Modern painters of the early to mid-twentieth century.
Both artists are linked to powerful male artists: Frida Kahlo was married, twice, to Mexican muralist Diego Rivera, and O'Keeffe was married to Alfred Stieglitz, American photographer and gallerist. Rivera's success and access enabled Kahlo to meet other influential artists such as Andre Breton, who championed her work, and Stieglitz gave O'Keeffe her first show, in Manhattan.
Neither woman had children, and each was quite independent of her successful and powerful husband. Each developed a distinctive style that moved away from traditional forms and subjects. Kahlo was drawn to Mexican folk art, surrealism, and self-portraiture. O'Keeffe leaned toward abstraction and often expressed it through extreme close-ups of flowers as well as interpretive landscapes.