This is an image taken in 1904 by American photographer and ethnologist Edward S. Curtis during his ventures to document the American landscape and specifically its indigenous inhabitants. This early glass plate photograph depicts seven Navajo riders and a dog travelling through their home territory in the 'Canyon de Chelly', Northern Arizona.
In critiquing this image and its relevance to the greater imaging of the West, we might describe in terms of a marked development from the romanticism that had characterised earlier illustrations of the West. Although this is largely due to the relatively date of production, the absence of light, passive nature of the piece and arguable lack of emotion constitute a stark contrast from the earlier work of painters such as Bierstadt. While these landscape artists took inspiration from the European schools, often beginning their careers around the Hudson Valley in the East, the later photography of those such as Curtis perhaps demonstrates a more honest and transparent appraisal of the West. Nonetheless, Curtis' image of the canyon does present some ideas that may be viewed as a continuation or evolution in some of the principal ideas of earlier landscape paintings.
Chief among these is his ability to capture elements of the sublime, albeit in a more restrained form when compared to romanticised paintings. According to Arthur Schopenhauer's ranked categorisation of the sublime, Curtis' image specifically conforms to what is described as the 'weaker feeling of the sublime' - 'Endless desert with no movement (Pleasure from seeing objects that could not sustain the life of the observer)'. Indeed, it is true that this image may be considered the epitome of a barren waste, with a lack of any kind of life besides that which is passing through this inhospitable land. This contrasts strongly with many previous representations of the West wherein the opportunity, fertility and potential of these landscapes are exemplified. Nonetheless, I would also argue that there are elements to Curtis' image which better fit with Schopenhauer's highest degree of the sublime - 'Immensity of Universe's extent or duration. (Pleasure form knowledge of observer's nothingness and oneness with Nature)'. In light of the vast expanse of the desert, and the way in which the Navajo blend visually into the environment, a sense of 'nothingness' and 'Immensity of Universe's extent' are instilled within the viewer, irrespective of Schopenhauer's original meaning, which may have been literal or metaphorical. The extent of the landscape is perhaps best emphasised by the mesa to the left which is not even fully captured in the photo. The idea that the extent of this land is such that it cannot even be measured or recorded exemplifies the notion of insignificance alluded to in Schopenhauer's top tier of the sublime. Between the verticality of the mesa and canyon wall and the horizontal lines created by the desert, rocky outcrops and line of riders - a contrast of direction is achieved. This seems to further highlight the vastness of the environment, as Curtis invites the viewer to continue the image in their own subconscious.
The aforementioned scale of the desert serves to better highlight the insignificance of its Navajo inhabitants who are presented here as lonely silhouettes, stretched out in single file. Their small size and silhouette form essentially denies to these riders any form of identity or apparent purpose, as contrasted with the depiction of humans in some earlier examples of 19th century landscape painting. Overall, I would assess the presentation of the Navajo here as a duality of sorts - their insignificance serves to better portray the immensity of the landscape in a form of symbiotic relationship. In this presentation, the concept of the Indian in his visual depiction is lost in its entirety. Unable to apply to these people a historical knowledge, naive preconceptions and thematic or ideological associations, the (white) viewer is forced to appraise the image honestly, perhaps lending a greater focus to the landscape. Not only rooted in the wider context of Curtis' mission, this alludes to the democratic nature of early photography which is perhaps the single most significant contrast between photographic and painted documentation of the Western landscapes. This transparency was well-described by none other than President Theodore Roosevelt, a close friend of Curtis who states how Curtis was "both an artist and a trained observer" whose "work has far more than mere accuracy, because it is truthful". This honesty in Curtis' photography and photography in general is essential in depictions of the West since the original first wave of landscape painters, culminating in the works of modern photographers like Len Jenshel.
Returning to the context of production for the majority of Curtis' work, he endeavoured to document the existence of the Native American, stating that his work aimed to respect 'the mode of life of one of the great races of mankind, [and] must be collected at once or the opportunity will be lost." Here, Curtis demonstrates an attitude that is considerably progressive when contrasted with representations of the Indian amongst his peers and predecessors who often reverted to archetypal portrayals of the Indian nations. Curtis' eminent respect for this oppressed minority further reinforces the view of his work as honest or transparent in nature - reflecting elements of the American West which are rejected by the earlier romantics.
Overall, Curtis' image of the Navajo in the Canyon de Chelly flirts with elements of the sublime and contains a multifaceted meaning which in many ways, hinges on its relationship with previous depictions of the West and in this case, its indigenous inhabitants. Poignant in its simplicity and stunning in its scope, the photograph represents a fascinating insight into the landscapes of the West, simultaneously enhancing and challenging the viewer's interpretation, emotional response and understanding.
Source list
Primary source - Curtis, Edward S. Canyon de Chelly, 1904. Retrieved from <http://www.lovethesepics.com/2011/04/heaven-aka-navajo-nation-canyon-de-chelly-national-monument/> last accessed 13/02/2017
Jenshel, Len, Gouldings Lodge, Monument Valley, 1987.
Schopenhauer, Arthur The Word as Will and Representation, 1818.
Roosevelt, Theodore as featured in foreword to The North American Indian, Volume I (Edward S. Curtis), 1907.
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