I set out on our Southwestern road trip determined to finish 2 books I’ve been stopping and starting for a while now. I was making good progress until we got to Ghost Ranch and I saw their library! One of the best selections I’ve seen of books on Georgia O’Keeffe and art in general, I found myself wishing we were staying longer.  I only had 6 days at the ranch, so I chose 2 small books I knew I could finish in that time frame.

I began the tiny Some Memories of Drawings within a few minutes of checking it out and quickly devoured it. A beautiful little collection of drawings by O’Keeffe accompanied by her reflections upon each drawing. Some of her observations are very open and insightful, while others retain some mystery, and I personally like it better that way. We don’t need to know every little thing she was thinking about every little thing she created. It is a lovely little treasure of a book that I’ve added to my Wish List– would be a wonderful thing to just pick it up and reflect on her words about these drawings from time to time.

page from Some Memories; I remember doing a master sketch of this drawing in college

found here

The other book, Painting with O’Keeffe by John Poling, intrigued me with its title– I hadn’t been aware that O’Keeffe had ever had the need for studio assistants to help her with painting later in life and I began it eager to learn any insight I could into her studio process.

O’Keeffe lost much of her eyesight in the early seventies and had stopped painting almost altogether. According to the book, she’d tried painting with her secretary/studio assistant, Juan Hamilton, but neither had found the process enjoyable or successful. Hamilton hired a young John Poling in 1975 to paint trim at the Ghost Ranch house and he soon found himself doing other errands and chores, eventually striking up what seemed like a genuine friendship with O’Keeffe. From his account, she seemed comfortable with him and he, not being an artist himself, was eager to please and very teachable.

I greatly enjoyed his descriptions of the days spent painting under O’Keeffe’s direction, gaining insight into just how very meticulous and thought out her work was– something we don’t often associate with abstract painters.

His painting work with her was completed while Juan Hamilton was away in New York on business, and according to Poling, the relationship fell apart upon Hamilton’s return. He attempted to assist O’Keeffe again, but claimed it was not the same “collaborative” type of exchange it had been the first time. When the completed painting was shown, Poling was upset that there was no acknowledgement of his involvement. This is where I’m afraid the book gets a bit whiny and self-involved, showing Poling’s lack of understanding of how artists and their studio assistants have functioned for centuries. He thought he was due credit as a collaborator, where O’Keeffe saw him as “merely a tool”– she only used his hands and eyes because of her unreliable eyesight. His continued insistence on “the truth” being made known comes across as petty and petulant, I’m afraid, although he claims it is with completely altruistic intentions that he wanted his involvement made known. It did seem, though, that he genuinely cared for O’Keeffe and was deeply hurt by what he saw as a betrayal by her and Hamilton.  I know there has been much made of her relationship with Hamilton, and admit I haven’t read much about their relationship until now.  I usually prefer to stick to accounts of artist’s professional lives, especially studio processes, and that part of the book I enjoyed immensely.

If you happen to see this little book for sale or at your local library, do pick it up, if only for the look into O’Keeffe’s process and her way of life in her later years. If you’ve done the Abiquiu house tour (my account of that to come soon!), it will especially help bring to life the descriptions of her home and studio.

abiquiu house studio, found here

Images by me unless otherwise indicated.