the john muir exhibit - john_muir_newsletter - yosemite
On Early Yosemite Artists and Tourism
(Reprinted from the
John Muir Newsletter
,
Vol. 2, No.2, Spring 1992)
Katherine M. Littell of Harvard University has published a short
essay about early Yosemite artists entitled, "Chris Jorgensen and
the Pioneer Artists of Yosemite."
It has appeared in the fall,
1990 issue of the
Harvard Graduate Society Newsletter
.
Littell reports that nineteenth century artists were very much responsible
for the political viability of Yosemite. The new Yosemite Grant
needed tourism to be financially stable. California had accepted
administration of Yosemite in 1866 but was not given any funds by
the federal government to handle its responsibility. To pay for the
costs of supervising Yosemite, Littell concludes that "Increasingly,
the Commissioners looked to artists and photographers to popularize
the unique loveliness of the Grant . . . . "
Accordingly, Frederick Lee Olmstead, Chair of the Yosemite
Commission, asked Virgil Williams (later Director of California
School of Design), artist Thomas Hill and photographer C.E.
Watkins, for advice on how to make Yosemite a stronger tourist
attraction. Of interest here is the fact that even those who had
taken on the responsibility of protecting Yosemite were, even at
the outset, interested in altering it. "Are there any conditions
affecting the scenery of the Yosemite unfavorably," Olmstead asked
the three artists, "which it would prove in the power of the State
to remove?" This is, of course, precisely the notion of "improving
the Valley" that John Muir argued against in his first writings for
the
San Francisco Bulletin
.
Muir argued often and publicly that
any effort to "improve" the Valley was silly, and pointedly made
fun of the little dam built by hotelier Snow to divert a side
stream of the Merced so it would flow over the main Nevada falls.
Littell's article is useful in providing a context in which early
Yosemite artists worked. Their paintings were distributed
nationwide. Thousands saw them, and as cross-country travel became
easier with the completion of the Union Pacific in 1869, other
thousands came to visit California, including Yosemite. Evidently,
Muir himself was inspired to visit Yosemite when he saw a painting
of the Valley, while recovering from his eye accident. Beginning
with Ayres and Hill, James Alden, William Smith Jewett, Albert
Bierstadt, and finally Chris Jorgensen, the author finds that each
"was forced to differentiate their styles to capture its compelling
beauty." Unlike the Hudson River School group that preceded them,
Littell writes, the Yosemite artists "either enthusiastically or
reluctantly, took on a political dimension" since each was
responsible in one way or another for popularizing Yosemite. Not
all Californians wanted more tourists in their state: Ambrose
Bierce rejoiced with "grim satisfaction" in the "destruction by
fire of Bierstadt's celebrated picture of Yosemite Valley," which
had, he stated, "incited more unpleasant people to visit California
than all our conspiring hotelkeepers could compel to return."
Perhaps the most compelling theme of Professor Littell's article is
the new window for research which she implicitly opens: What
was the full political and environmental impact of tourism on
Yosemite and other wildernesses? It has often seemed that Muir was
in one respect a tragic figure. Promoting tourism, he several
times wrote it was one of the "great, good signs of the times";
yet, it was and remains an element responsible for the very
destruction of wilderness.
Muir spoke of this dilemma on several occasions, always opting to
defend wilderness visitation. When North Dome became finally
accessible to hikers, Muir dismissed notions that any harm might
come from the new visitors, writing that he had "always
discouraged as much as possible every project for laddering the
South Dome, believing it would be a fine thing to keep this garden
untrodden. Now the pines will be carved with the initials of Smith
and Jones, and the gardens strewn with tin cans and bottles, but
the winter gales will blow most of this rubbish away, and
avalanches may strip off the ladders." (
San Francisco Daily Evening Bulletin
, Nov., 18, 1875.) His later articles from Alaska
quite clearly call for Americans to come visit their northern
acquisition: "Go, go and see," he directed. And, of course, the
initial purpose of the Sierra Club was to make the mountains more
accessible. Professor Littell's suggestive essay raises the
question as to whether Muir or the other artists may have come to
harbor self-doubts about the wisdom of the policy.