Ansel Adams (73 page)

 
5
       A. Adams with M. Alinder,
Autobiography
, 87–89; Nancy Newhall
, The Eloquent Light
(Millerton, N.Y.: Aperture, 1980), 47–49; Ansel Adams,
Photographs of the Southwest
(Boston: Little, Brown, 1976), vii–ix.

 
6
       N. Newhall,
Eloquent Light
, 48.

 
7
       A. Adams, “Conversations,” 184. Courtesy of The Bancroft Library.

 
8
       Mary Austin to Ansel Adams, February 23, 1929, in Esther Lanigan Stineman,
Mary Austin
(New Haven and London: Yale University Press, 1989), 190.

 
9
       Ibid.

 
10
       Page Stegner,
Outposts of Eden
(San Francisco: Sierra Club Books, 1989), 23.

 
11
       Genny Schumacher Smith, ed.,
Deepest Valley
(Los Altos, Calif.: William Kaufmann, 1969); Galen Rowell,
Mountain Light
(San Francisco: Sierra Club Books, 1986), 20.

 
12
       Elliot Diringer, “The True History of the Owens Valley,”
San Francisco Chronicle
, June 8, 1993, A7.

 
13
       Taos Tribal Tourism Director,
Taos Pueblo: A Thousand Years of Tradition
(Taos, N.M.: Taos Pueblo, 1994).

 
14
       Albert Bender to Mary Austin, March 23, 1929. Courtesy of F. W. Olin Library, Mills College, Bender Collection.

 
15
       Lois Palken Rudnick,
Mabel Dodge Luhan: New Woman
,
New Worlds
(Albuquerque: The University of New Mexico Press, 1984), 182.

 
16
       N. Newhall,
Eloquent Light
, 60; Ansel Adams to Charles Adams, May 26, 1929, CCP.

 
17
       Mary Austin and Ansel Adams,
Taos Pueblo
(San Francisco: The Grabhorn Press, 1930), unpaginated.

 
18
       Stineman,
Mary Austin
, 197.

 
19
       Weston J. Naef, afterword to Austin and A. Adams,
Taos Pueblo
(facsimile edition; Boston: New York Graphic Society, 1977), unpaginated.

 
20
       A. Adams, “Conversations,” 570–571.

 
21
       Peter Palmquist, “William E. Dassonville: An Appreciation,” in Susan Herzig and Paul Hertzmann, eds.,
Dassonville
(Nevada City, Ca.: Carl Mautz Publishing, 1999), 26.

 
22
       Reproduced in A. Adams with M. Alinder,
Autobiography
, 93, 95.

 
23
       Ibid., 92.

 
24
       Reproduced in Ansel Adams,
Ansel Adams: Classic Images
(Boston: New York Graphic Society, 1986), pl. 4.

 
25
       Conversation between Ansel and Virginia Adams in 1981, while the author was present.

 
26
       A. Adams with M. Alinder,
Autobiography
, 90.

 
               
In July 1995, an original volume of
Taos Pueblo
sold for $21,850 at San Francisco’s Pacific Book Auction.
Pacific Currents
(The Pacific Book Auction Galleries) 4, no. 1 (September 1995): 2. In 2014, a rare book dealer had it priced at $65,000. New York Graphic Society published a facsimile reprint in 1977, with fine reproductions but not original prints, as in the 1930 edition. The general value in 2014 is $3,500 a copy.

 
27
       
California Arts and Architecture
review of
Taos Pueblo
, reproduced in N. Newhall,
Eloquent Light
, 65; Stineman,
Mary Austin
, 194.

 
28
       Bruce Altschuler,
The Avant Garde in Exhibition
(New York: Abrams, 1994), 72.

 
29
       Rudnick,
Mabel Dodge Luhan
, 155.

 
30
       Mabel’s house is now a private residence. For many years it was a bed-and-breakfast. Visitors could choose among Mabel’s own room, Tony’s (down a back hallway) (where Jim and I stayed once), O’Keeffe’s almost monastic cell, or a variety of others. One of the bathrooms sported glass windows painted in vibrant colors by D. H. Lawrence. These windows surrounded the bathtub where Una Jeffers threatened to take her life. I found it an eerie place to take a bath.

 
31
       A. Adams, “Conversations,” 180. Courtesy of The Bancroft Library.

 
32
       Rudnick,
Mabel Dodge Luhan
, 191.

 
33
       Ibid., 298–299.

 
34
       A. Adams, “Conversations,” 190.

 
35
       Sarah Greenough, “Alfred Stieglitz, Rebellious Midwife to a Thousand Ideas,” Sarah Greenough,
Modern Art and America, Alfred Stieglitz and his New York Galleries
(Boston: Bulfinch Press, 2000), 61, 544.

 
36
       N. Newhall,
Eloquent Light
, 60.

 
37
       A. Adams, “Conversations,” 563.

 
38
       A. Adams with M. Alinder,
Autobiography
, 309–310.

 
39
       Van Deren Coke,
Taos and Santa Fe: The Artist’s Environment 1882
–
1942
(Albuquerque: The University of New Mexico Press, 1963), 86–88.

 
40
       Barbara Rose,
American Painting: The Twentieth Century
(New York: Rizzoli, 1986), 29–31.

 
41
       Ansel Adams to Virginia Adams [late August 1930], in Mary Street Alinder and Andrea Gray Stillman, eds.,
Ansel Adams: Letters and Images
,
1916
–
1984
(Boston: Little, Brown, 1988), 46.

 
42
       A. Adams with M. Alinder,
Autobiography
, 275.

 
43
       Ibid., 237–238.

 
44
       A. Adams, “Conversations,” 181.

 
45
       Ibid., 109.

 
46
       Ansel Adams to Alfred Stieglitz, October 9, 1933, in M. Alinder and Stillman,
Letters and Images
, 58–61; and Ansel Adams to Paul Strand, September 12, 1933, ibid., 56.

 
47
       N. Newhall,
Eloquent Light
, 62.

 
48
       Ansel Adams to Virginia Adams [late August 1930], M. Alinder and Stillman,
Letters and Images
, 46.

6. STRAIGHT PHOTOGRAPHY

 
1
       “Pictorial Photographer Show,”
Washington Post
, January 11, 1931.

 
2
       In 1923, an album of forty-five of Ansel’s photographs had been included in an exhibit at the Sierra Club. Nancy Newhall,
The Eloquent Light
(Millerton, N.Y.: Aperture, 1980), 87. Beginning in 1928, Ansel had solo exhibitions at the Sierra Club’s San Francisco offices: October 1–8, 1928; September 12–23, 1929 (and from September 30 to October 7 at the club’s Los Angeles headquarters); and October 20–27, 1930. His annual exhibitions at the club continued through 1935.

 
3
       Francis Peloubet Farquhar (1887–1974). The Francis P. Farquhar Mountaineering Award was created in his honor in 1970. He was an important leader in the fight to establish Kings Canyon National Park and it is there that 12,893-foot Mt. Farquhar rises.

 
4
       Michael P. Cohen,
The History of the Sierra Club
,
1892
–
1970
(San Francisco: Sierra Club Books, 1988), 44.

 
5
       Francis P. Farquhar, “Mountain Studies in the Sierra: Photographs by Ansel Easton Adams with a Note About the Artist by Francis P. Farquhar,”
Touring Topics
(Automobile Club of Southern California) 23 (February 1931). Ten photographs of Sierra mountains illustrate the article. Courtesy of the Farquhar family.

 
6
       N. Newhall,
Eloquent Light
, 68–69.

 
7
       Ansel Adams with Mary Street Alinder,
Ansel Adams: An Autobiography
(Boston: New York Graphic Society, 1985), 142. This was a total and final change, with one exception: he frugally used up his stock of Dassonville Charcoal paper for his four Sierra Club Outing portfolios, the last made to commemorate the 1932 expedition.

 
8
       
Anchors
,
San Francisco
(1931), reproduced in Andrea Gray,
Ansel Adams: An American Place
(Tucson: The Center for Creative Photography, 1982), pl. 42.

 
9
       Reproduced in A. Adams with M. Alinder,
Autobiography
, 131; Ansel Adams, “An Exposition of My Photographic Technique,”
Camera Craft
41 (January 1934): 20.

 
10
       Leslie Calmes, archivist at the Center for Creative Photography, has determined that
The Fortnightly
first appeared on September 11, 1931, and ceased publication on May 6, 1932.

 
11
       Ansel wrote six columns for
The Fortnightly
, only four of which were published before the magazine folded.

 
12
       Ansel Adams, “Photography,”
The Fortnightly
, November 6, 1931, 25.

 
13
       Ibid.

 
14
       Reproduced in Ansel Adams with Robert Baker,
The Negative
(Boston: New York Graphic Society, 1981), 184.

 
15
       Ansel Adams,
The Portfolios of Ansel Adams
(Boston: New York Graphic Society, 1977), pl. 6.

 
16
       Reproduced in Ansel Adams,
Ansel Adams: Classic Images
(Boston: New York Graphic Society, 1986), pl. 7.

 
17
       Jasmine Alinder, interview with the author, March 17, 1995.

 
18
       Edward Weston to Ansel Adams, January 28, 1932, in Mary Street Alinder and Andrea Gray Stillman, eds.,
Ansel Adams: Letters and Images
,
1916
–
1984
(Boston: Little, Brown, 1988), 48–50. Ansel Adams Archive, CCP. © Center for Creative Photography, Arizona Board of Regents, 1995.

 
19
       Ansel Adams, “Photography,”
The Fortnightly
, February 12, 1932, 26.

 
20
       Johannes Molzahn, “Nicht mehr lesen, Sehen,”
Das Kunstblatt
, 1928; Naomi Rosenblum,
A World History of Photography
(New York: Abbeville Press, 1984), 432.

 
21
       Richard Lorenz,
Imogen Cunningham: Ideas Without End, a Life in Photography
(San Francisco: Chronicle Books, 1993), 24.

 
22
       Nicholas Callaway, ed.,
Georgia O’Keeffe: One Hundred Flowers
(New York: Alfred A. Knopf, 1987).

 
23
       Lorenz,
Imogen Cunningham: Ideas Without End
, 26–27.

 
24
       “All Around the Town,”
The Argonaut
, February 5, 1932, 10.

 
25
       Untitled statement for solo exhibition, M. H. de Young Memorial Museum, San Francisco, February 1932, Nancy Newhall, Notes for
The Eloquent Light
, CCP.

 
26
       Junius Cravens, “The Art World,”
The Argonaut
, February 12, 1932, 14.