Sedona.Biz – The Voice of Sedona and The Verde ValleySedona.Biz – The Voice of Sedona and The Verde Valley
    Sedona.Biz – The Voice of Sedona and The Verde Valley Sedona.Biz – The Voice of Sedona and The Verde Valley
    • Home
    • Sedona News
    • Business Profiles
    • Opinion
    • Mind & Body
    • Arts
    • Elections
    • Gift Shop
    • Contact
    • Advertise
    Sedona.Biz – The Voice of Sedona and The Verde ValleySedona.Biz – The Voice of Sedona and The Verde Valley
    Home » Sedona Lit: Georgia O’Keeffe in Arizona
    Sedona

    Sedona Lit: Georgia O’Keeffe in Arizona

    August 8, 201610 Comments
    Facebook Twitter Pinterest LinkedIn Email Reddit WhatsApp
    Share
    Facebook Twitter LinkedIn Pinterest Email Reddit WhatsApp

    Sedona Lit is a series by Dr. Elizabeth Oakes, an award winning poet and former Shakespeare professor. A Sedonian of three years, she will highlight the literature, written or performed, of Sedona, past and present.

    photo_elizabethoakes_216By Elizabeth Oakes
    (August 8, 2016)

    Georgia O’Keeffe is associated with New Mexico, specifically with Ghost Ranch and her house at Abiquiu, but I had to wonder if she ever saw red rock country. Actually, she may have! In 1929 and 1937 she toured various sites in Arizona and documented the experience in her letters and several paintings.

    O’Keeffe is not known as a writer, but she was a prolific one. She and Alfred Stieglitz, her husband, wrote to each other almost every day when apart; just the first volume of their letters (from 1915 to 1933) is 739 pages long. She also wrote extensively to her multitude of friends. Furthermore, she was articulate about her life, her philosophy (she is one of the most quoted of artists), and her work because, she said, “I am often amazed at the spoken and written word telling me what I have painted.”

    20160808_oakes4In August of 1929, while staying with Mabel Dodge Luhan, the maven of the Taos art community, she was invited by several friends to a trip to the Grand Canyon in a Rolls Royce, her favorite car, and a Packard. “Well, I just couldn’t miss it,” she wrote Stieglitz. It was “such a way to go – and they all know the country.” They all became “terribly burned” from driving with the top down because “you can see so much better”!

    One sight she describes sounds like our unique red rock country! She wrote: “We drove till about five – all day – from eight in the morning through desert along first soft gray sand hills – then red and pink cliffs – sharp and enormous – It is a cruel cruel country – terrible roads – and along with what one saw which finally got to be so much that I just felt I couldn’t [take] anymore.”

    She describes the August heat as “so hot that your eyes feel as tho they are frying – and you don’t mind – you like it till it gets you on the top of the head which it finally does – But by that time the side metal on the car is so hot you can’t put your hand on it.”

    After the heat, the bad roads, and the “red and pink cliffs,” they “climbed a frightful hill and began going into trees – For over two hours we went through pines – little scrubby ones at first growing taller and taller as we went on – the roads fine – and the air cooler and cooler till we were all done up in coats – and we got here just for sunset.”

    20160808_oakes2This describes the experience one has even today traveling from the red rocks of Sedona up the switchbacks to the pine forest leading to the higher elevation and cooler temperature of Flagstaff. In fact, a route can be plotted on a 1929 road map from Santa Fe westward to Arizona’s Painted Desert (which she described as “dark and naked and simple – and beautiful”), southwest to Camp Verde, then north to Sedona, then up Oak Creek Canyon to Flagstaff to the South Rim, their destination.

    Sedona Gift Shop

    The Grand Canyon was “just what one would expect it to be – Big and grand and colorful till one can’t take it in,” she wrote to her husband, and noted that she felt “quite limp from looking over edges.” Its vastness fascinated her; “there seems no end to it,” she wrote. Interestingly, she also loved the non-visual, especially “the sound of the water way down in the canyon where you can’t see it.” In fact, O’Keeffe raved about her visit so much that Stieglitz called her “My Grand Canyon Madness.”

    Arizona called her again in 1937, when she and Ansel Adams and several others set out for a two-week trip to the Grand Canyon, Canyon de Chelly, and Monument Valley. The famous photographer captured her at Canyon de Chelly with Orville Cox, who was a wrangler at Ghost Ranch, and by herself on an overlook. Adams wrote that the photographs brought back to him “the brilliant afternoon light and the gentle wind rising from the canyon below. I remember that we watched a group of Navajos riding their horses westward along the wash edge, and we could occasionally hear their singing and the echoes from the opposite cliffs. The cedar and pinyon forests along the plateau rim were gnarled and stunted and fragrant from the sun.”

    20160808_oakes3

    It was not until 1965 that O’Keeffe painted the Grand Canyon. The works cannot be linked to any specific place, unlike many of her New Mexico paintings. Perhaps, however, to O’Keeffe, what we see as a distilled image is the way she just saw: some of her paintings, she said, “looked so real to me. But they have passed into the world as abstractions – no one seeing what they are.” I have to wonder if, in her vast oeuvre, there are not some referencing our red rock country even if they are not recognized as so.

    20160808_oakes1Why, one might ask, if she was so struck by her two trips did she not immediately paint a long series. She may have given the answer herself in speaking of her flower paintings: “Nobody sees a flower – really – it is so small it takes time – we haven’t time – and to see takes time, like to have a friend takes time.” She was in Arizona less than a month overall, perhaps too short a time.

    Although O’Keeffe averred that “the meaning of a word – to me – is not as exact as the meaning of a color,” she was quite adept with them. It struck me that her use of the dash instead of punctuation recalls Emily Dickinson. It gives her writing, too, the feel of the words just tumbling out, unbound by rules and firmly in touch with their own rhythms.

    Note: Also see O’Keeffe’s “Canyon No. 2,” 1965

    10 Comments

    1. Maureen Murphy on August 8, 2016 10:22 am

      Wonderful piece Elizabeth, filled with so many new revelations about Georgia O’Keeffe.

      • Elizabeth Oakes on August 9, 2016 7:29 am

        She’s never-ending!

        • Janice on August 9, 2016 2:00 pm

          Thanks Libby, Georgia was never ending just like us strong women writers. Salutations to all of the creative women in Sedona and your beautiful insight. Cox sure was handsome! I love her looking at him especially, coquettish.

    2. Cat Anderson on August 8, 2016 11:22 am

      Libby, this is magnificent. Thank you so much for opening these stories for us.

      • Elizabeth Oakese on August 9, 2016 7:30 am

        It’s fun to find them — to go down a trail, and there they are!

    3. Randall Reynolds on August 8, 2016 4:06 pm

      Absolutely beautiful Libby, and certainly one of your very best pieces. I was overwhelmed with the visual– it was like watching an epic film! Wow. Fran Elliott would have loved this so much! Thank you so much for your efforts on these entries!

      • Elizabeth Oakes on August 9, 2016 7:32 am

        Thanks, Randall — I’m grateful to Fran for the women artists exhibit we saw in Flag when we were first here —

    4. libertylincoln on August 8, 2016 4:44 pm

      Wow thanks again for your insights… and lovely photos…

      • Elizabeth Oakes on August 9, 2016 7:33 am

        Thanks for reading and commenting, Liberty!

    5. Sharron V Porter on August 19, 2016 10:37 am

      Lovely thoughts and images on one of the West’s favorite ladies!
      Thank you, Libby!!


    The Symbolism of Jan. 6

    By Tommy Acosta
    Don’t mess with symbols. Just ask author Dan Brown’s character Robert Landon. The worth of symbols cannot be measured. Symbols make the world-go-round. Symbols carry the weight of a thousand words and meanings. Symbols represent reality boiled down to the bone. Symbols evoke profound emotions and memories—at a very primal level of our being—often without our making rational or conscious connections. They fuel our imagination. Symbols enable us to access aspects of our existence that cannot be accessed in any other way. Symbols are used in all facets of human endeavor. One can only feel sorry for those who cannot comprehend the government’s response to the breech of the capital on January 6, with many, even pundits, claiming it was only a peaceful occupation. Regardless if one sees January 6 as a full-scale riot/insurrection or simply patriotic Americans demonstrating as is their right, the fact is the individuals involved went against a symbol, and this could not be allowed or go unpunished. Read more→
    Recent Comments
    • Blair C Mignacco on SB1100 Would Increase the Allowable Weight of OHVs
    • Jon Thompson on SB1100 Would Increase the Allowable Weight of OHVs
    • JB on The Symbolism of Jan. 6
    • Sean Dedalus on The Symbolism of Jan. 6
    • JB on The Symbolism of Jan. 6
    Categories
    © 2023 All rights reserved. Sedona.biz.

    Type above and press Enter to search. Press Esc to cancel.