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Victoria Olsen Posts

Cowboy Curtis

I recently wrote another close reading of an image for Smithsonian Magazine (published in the spring, when I’ll post it).  I looked at a Western landscape and compared it to this famous image by Edward Curtis.  This 1904 photograph of Canyon de Chelly, one of the oldest inhabited sites in North America, reveals Curtis’s technical prowess in composing sharply detailed landscapes from a great distance.  The horizontal lines evoke the long timelines of Western landscapes, where time is marked by ancient rock formations and people riding through vast deserted country.  But the scale is human too: the mountain face echoes the craggy, monumental portraits Curtis made of Red Cloud and other famous Native American chiefs.  Man and mountain are aligned here, both represented in the photograph as vertical lines reaching toward the heavens.  Positioning his camera between flat ground and open sky, Curtis “shoots” the Navajo riders to remind us of timeless struggles between man and nature as well as the “Cowboys and Indians” in our national history.

Girl, Turning

This famous image by Johannes Vermeer has been the subject of almost equally famous texts, including Tracy Chevalier’s novel that fictionalizes the girl’s story.  Lawrence Wechsler did an extended close reading of this portrait in the title essay of  his book Vermeer in Bosnia.  In it he cited an even more extended 20-page close reading by art historian Edward Snow of the portrait.  Snow posed  an arresting visual question: is this girl turning toward us or away from us?  He cited evidence (the fall of the turban, the angle of her face) and then speculated about its meaning: what story does  each visual interpretation imply?  Wechsler used the image to illuminate the essence of individuality itself: the girl’s gaze defines her uniqueness.  Ironically this has not been reflected in the image’s title: it has alternately been known as “Girl with Turban,” “Head of a Young Girl,” and “Girl with a Pearl Earring” (especially since the popular novel and film).  Despite her apparent individuality, Vermeer did not name this girl and neither can we.

Is this image somehow essentially double or ambiguous?  What oppositions are at work and where do you see them?

Click here to watch a YouTube video of an artist copying this painting with a Bic pen.

Knowing Huck

You don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter.  That book was made by Mr. Mark Twain, and he told the truth, mainly.  There was things which he stretched, but mainly he told the truth.  That is nothing.  I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary.  Aunt Polly–Tom’s Aunt Polly, she is–and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before. –chapter 1, first paragraph

You don’t know much, in other words, but what do you know right away about this boy?  He “ain’t” schooled, but he can and does read.  You don’t know his name,  but he “names” a book he’s in and its author, though you may know “Mark Twain” is a pseudonym for a Mississippian named Samuel Clemens.  He names other characters and assumes you know them.  He is obsessed with truth and “stretchers.”  He repeats himself, and he suggests already that this book will too: repeat characters, repeat locations, repeat phrasings, and repeat plots, moving in a circular journey back to what he “said before.”  In fact, the last sentence of the book is “I been there before.”  There it is: the whole of the Adventures of Huckleberry Finn in this first paragraph, all told without you “knowing” it.

What else do you see in this opening paragraph that forecasts what is to come?  Why does Twain name three women who barely figure in the plot?