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Georgia O'keeffe's Ghost Ranch

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Georgia O'keeffe's Ghost Ranch HISTORIC HOUSES Georgia O’Keeffe’s Ghost Ranch THE ARTIST’S FIRST NEW MEXICO HOME IS FAITHFULLY RESTORED Text by Dana Micucci/Photography by Robert Reck “To me it is the best place in the world,” O’Keeffe (left, at 94) said of Ghost Ranch. “It has always been secluded and solitary. When I first went there, it was only one house with one room-which had a ghost living in it.” BELOW: Bluffs rise to the north of the house, which is partly obscured by piñon trees. s soon as I saw it, I knew I must have it,” said Georgia AO’Keeffe of the simple adobe house at Ghost Ranch, her first residence in her beloved New Mexico. O’Keeffe first stayed at the 21,000-acre dude ranch in 1934, having already spent the region. of majestic cliffs and mesas. She immortalized the land- several summers in northern Here in this unpretentious, O’Keeffe expressed her enthu- scape around her home, in all New Mexico, captivated by V-shaped structure, situated siasm for her surroundings in its shifting moods and colors, the piercing sunlight, expan- in a remote area of the ranch, a 1942 letter to the painter Ar- in paintings such as The Cliff sive skies and stark beauty of O’Keeffe spent each summer thur Dove: Chimneys, 1938, Untitled the high-desert landscape that and fall of most of the last 40 “I wish you could see what I (Red and Yellow Cliffs), 1940, have long attracted artists to years of her long and prolific see out the window—the earth and My Front Yard, Summer, life. (She died in 1986 at pink and yellow cliffs to the 1941,which depicts a vista of the age of 98.) Its adobe walls north-the full pale moon about her “private mountain,” the For more than 40 years Georgia O’Keeffe spent her summers seemingly an extension of the to go down in an early morning Cerro Pedernal. “Out here, at Ghost Ranch, some 60 miles northwest of Santa Fe. “I loved earth itself, the Ghost Ranch lavender sky... pink and purple half your work is done for it immediately,” she said of her house (first shown in Archi- hills in front and the scrubby you,” O’Keeffe said. She par- first visit to New Mexico. “From then on I was always on my way tectural Digest in June 1981) fine dull green cedars—and a ticularly delighted in climbing back.” OPPOSITE: O’Keeffe nurtured her love of nature. Its feeling of much space—It is a the hand-hewn wooden ladder would climb the ladder to the roof, where she often slept. picture windows frame views very beautiful world.” to the roof, where she often The stark desert landscape corresponds to O’Keefe’s austere, self- sufficient image. entertained visitors and slept al conference center run by the whom she studied at Colum- TOP: O’Keeffe at her dining ta- ble in 1967. ABOVE: The kitchen under the stars. Presbyterian Church. bia University in 1914-15, is and breakfast room feature viga- A component of the Georgia At Ghost Ranch, Georgia evident throughout. The rooms and latilla ceilings and windows that open onto the high-desert O’Keeffe Museum Research O’Keeffe composed a life of are decorated with a careful as- landscape. The Georgia O’Keeffe Center, which is affiliated with Zen-like simplicity. The stark semblage of found objects and Museum Research Center has restored the house to its 1940s Santa Fe’s Georgia O’Keeffe desert landscape corresponds functional furniture and open appearance. Museum, the artist’s house to the austerity of the house onto a central patio, overgrown at Ghost Ranch recently was and its interior as well as to with gray green chamiso and restored to its original 1940s her austere, self sufficient im- sagebrush. Adobe fireplaces LEFT: As elsewhere in the house, rocks, shells and bones col- appearance, based on photo- age. O’Keeffe’s minimalist and walls, and the viga-and- lected by the artist on her walks line shelves in the dining room. graphs from the period. The aesthetic, rooted in her appre- latilla ceilings typical of New Chinese chairs surround the ranch itself, located some 60 ciation of Asian art and the Mexican adobe-style architec- plain plywood table. The simple, U-shaped adobe structure was miles northwest of Santa Fe, design-driven teachings of art- ture, endow the house with a built in the 1930s; it now sits on now functions as an education- ist Arthur Wesley Dow, with welcoming, earthy intimacy. approximately 12 acres. Though modest in appearance, and personal possessions, to it exudes a certain harmony, the Georgia O’Keeffe Museum as if every element were in Research Center in Santa Fe its proper place, reflecting by artist Juan Hamilton, O’- O’Keeffe’s attention to detail. Keeffe’s friend and associate, Her studio is a tranquil, white- and his wife, Anna Marie. washed space with a hardwood All of the artist’s furnishings floor and an adobe fireplace, remain in the house, arranged above which hangs a bleached as she once lived among them. animal skull. Displayed on In the studio, where O’Keeffe the mantel and windowsills, installed a picture window as well as on the naturally to maximize the desert view, TOP: From the breakfast room, OPPOSITE: A ledge displays grained cedar ledge encircling are a scattering of rush-seated O’Keeffe could look north to the bones and other objects found by the room, are gnarled branches chairs, a modest wooden table pump house. ABOVE: Her Unti- the artist. “The bones seem to cut tled (Red and Yellow Cliffs) dates sharply to the center of something and animal bones, reminiscent and a red-canvas-and-chrome from 1940, the year she bought that is keenly alive on the desert of the objects that she scav- Le Corbusier-style lounge the property. In 1949 she settled even though it is vast and empty permanently In New Mexico, and untouchable—and knows no enged from the desert. The chair. White cotton curtains dividing her time between Ghost kindness with all its beauty,” she Ranch and Abiquiu. originals were donated, along shade the windows. The artist’s once said. with O’Keeffe’s art materials easel, which supports a large, The studio at Ghost Ranch primed blank canvas, stands Abiquiu. OPPOSITE: A ledge The room adjacent to the remained an austere space with few furnishings. O’Keeffe also in a corner. A small wooden displays bones and other ob- studio served variously as a painted outdoors, and her Model bench and a metal cart bearing jects found by the artist. “The bedroom and a sitting room A Ford functioned as a kind of mobile studio. “I thought the tin cans of paintbrushes, paint bones seem to cut sharply to where O’Keeffe often listened ranch would be good for me be- tubes and other supplies are the center of something that is to classical music. It is fur- cause nothing can grow here and I wouldn’t be able to use up my nearby. keenly alive on the desert even nished with several rudimen- time gardening,” she said year she bought the property. though it is vast and empty and tary tables, a simple black In 1949 she settled permanent- untouchable—and knows no chair, an old stereo and the ly In New Mexico, dividing her kindness with all its beauty,” plain desk on which O’Keeffe time between Ghost Ranch and she once said. penned her numerous letters to canning jars, baskets and myr- iad cooking utensils. O’Keeffe enjoyed eating in the vesti- bule off the kitchen, where she would sit on the banco (adobe ledge) and look out into the New Mexican desert, studded with wildflowers and stunted pinon and juniper trees. The Ghost Ranch residence represented for O’Keeffe “a kind of freedom,” she said, de- spite the hardships of living in isolation with generator-sup- plied electricity and without a telephone or fresh fruits and vegetables, for which she had BELOW: The Le Corbusier- ABOVE: The house, with Cerro to drive to Santa Fe on a dirt style lounge chair in the studio Pedernal in distance. “I suppose Cedar wall ledges display sea- road. is original to the house. Small I could live in a jail as long as I items were given to the Georgia had a little patch of blue sky to shells and rocks, another re- Her daily routine here was O’Keeffe Museum in Santa Fe look at,” O’Keeffe said. “The minder of O’Keeffe’s love of marked by her reverence for by her friend and associate, Juan kinds of things one sees in cities... Hamilton. The house is now ised it’s better to look out the window simple natural forms. simple rituals and an inner for research activities at the sage.” “O’Keeffe had a profound clarity that allowed her to be connection to nature, its forms, fully present in each moment. shapes and contours. Her main She would rise early and take a objective was to distill her ex- long walk before breakfast, ac- perience of the world around companied by her dogs. After her to its essence,” says Bar- breakfast, she would venture bara Buhler Lynes, curator of back into the desert for a day the Georgia O’Keeffe Museum of painting, often using her and the Emily Fisher Landau Model A Ford as a portable director of its research center. studio. Upon returning home, “The solitude and raw, elemen- she would take an evening tal beauty she found at Ghost walk before dinner.
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