A celebration without shadows: Ansel Adam's and Nancy Newhall's collaborations on "The Pageant of History in Northern California" and "Fiat Lux: The University of California"

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A celebration without shadows: Ansel Adam's and Nancy Newhall's collaborations on "The Pageant of History in Northern California" and "Fiat Lux: The University of California"

Stover, Louise, M.A.

The University of Arizona, 1992

U MI 300 N. ZeebRd. Ann Arbor, MI 48106

A CELEBRATION WITHOUT SHADOWS: ANSEL ADAMS'S AND NANCY NEWHALL'S COLLABORATIONS ON THE PAGEANT OF HISTORY TN NORTHERN CALIFORNIA AND FIAT LUX: THE UNIVERSITY OF CALIFORNIA

by Louise Stover

A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA

19 9 2 STATEMENT BY THE AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED>

APPROVAL BY THESIS DIRECTOR Tljis t^fepis has approved on the date shown below:

/2 A//f^L D. Keith MfcElroy December /ll, 1992 Professor of Art History ACKNOWLEDGEMENTS

This project would not have been possible without the advice and encouragement of John Szarkowski. It was really his idea and without him it wouldn't have happened. I am especially indebted to Dr. Keith McElroy, Dr. Ellwood C. Parry III, and Dr. Stacie Widdifield who generously shared their ideas and observations about this topic and the medium at large. Grateful acknowledgement is made to Beaumont Newhall and the Ansel Adams Publishing Rights Trust for permission to quote from the papers of Nancy Newhall and Ansel Adams. Special thanks to Amy Rule and Leslie Calmes for all their help in making archival material from the Research Center at the Center for Creative Photography available and for graciously fielding my many questions and requests. Roy McJunkin did the same at the California Museum of Photography in Riverside, supplying valuable photographic material from the Museum's extensive holdings of Adams's work. Regina Rubin, John Sharp, Sheryl Conkelton, and Gordon Baldwin were always ready with support and criticism. I greatly appreciate their input and advice. This paper is dedicated to my parents, who taught me how to laugh and how to think. It was written in remembrance of Jimmy Evans. TABLE OF CONTENTS

LIST OF ILLUSTRATIONS 5 ABSTRACT 7 A CELEBRATION WITHOUT SHADOWS: ANSEL ADAMS'S 9 AND NANCY NEWHALL'S COLLABORATIONS ON THE PAGEANT OF HISTORY IN NORTHERN CALIFORNIA AND FIAT LUX; THE UNIVERSITY OF CALIFORNIA NOTES 49 APPENDIX A: PERMISSIONS 54 APPENDIX B: ILLUSTRATIONS 58 WORKS CITED 75 5

LIST OF ILLUSTRATIONS

FIGURE 1, Ansel Adams. Mariposa Courhouse. 58 Bridgeport. California. 1938. FIGURE 2, Ansel Adams. Waterfront. San 59 Francisco. ca. 1953. FIGURE 3, Ansel Adams. Shipbuilding. San 60 Francisco. ca. 1953. FIGURE 4, Ansel Adams. Geology Field Trip. 61 Riverside (Joshua Tree National Monument). ca. 1966. FIGURE 5, Ansel Adams. View East from Fire 62 Lookout Tower. Lick Observatory. 1964. FIGURE 6, Ansel Adams. Science Lecture Hall. 63 Natural Science Building. Irvine. 1967. FIGURE 7, Ansel Adams. Campus Park. The 64 Commons. and Library Administration Building. Irvine. 1967. FIGURE 8, Ansel Adams. Moonrise. U.C.L.A.. 65 1966. FIGURE 9, Ansel Adams. Redwoods. Richardson 66 Grove. 1946. FIGURE 10, Ansel Adams. Redwood Forest. Founder's 67 Grove. Avenue of the Giants. Humboldt Redwoods State Park. Forest Products Laboratory. 1966. FIGURE 11, Ansel Adams. Delta-Mendota Canal. 68 ca. 1953. FIGURE 12, Ansel Adams. Canal Near Davis. 69 ca. 1967. FIGURE 13, Ansel Adams. Mr. Beniamin Foster. 70 1966. 6 LIST OF ILLUSTRATIONS - Continued

FIGURE 14, Ansel Adams. Regents' Professor of 71 Musicolog¥j_JELLversidte__(J2rj_Oswald Jonas). ca. 1966. FIGURE 15, Ansel Adams. Collections (A. Starker 72 Leopold. Professor of Zoology. Berkeley)P ca. 1964—66. FIGURE 16, Ansel Adams. Graffiti. Riverside. 73 ca. 1966. FIGURE 17, Ansel Adams. Corner of Sproul Plaza 74 and Telegraph Avenue. Berkeley, ca. 1965-67. 7 ABSTRACT

Throughout the 1950s and '60s Ansel Adams and Nancy Newhall collaborated on eight books devoted to photography. Two of these publications stand apart as books which were distinctly commercial in character. The Pageant of History in Northern California (1954), created for the American Trust Company of San Francisco, and Fiat Lux (1967), commissioned by the University of California, are linked by a number of interesting similarities. The ultimate function was identical to create a work that would reflect the institution's commitment to the State of California. This essay will examine the character of Adams's photographs, Newhall's text, and their collaboration itself. It will explore the decisions and compromises Adams and Newhall were compelled to make between the requirements of the commercial commission and the preservation of their personal agenda of promoting photography as a tool of visual communication. A CELEBRATION WITHOUT SHADOWS: ANSEL ADAMS'S AND NANCY NEWHALL'S COLLABORATIONS ON THE PAGEANT OF HISTORY IN NORTHERN CALIFORNIA AND FIAT LUX: THE UNIVERSITY OF CALIFORNIA

As a tool of visual communication, the photographic book came of age in the 1950s and '60s. The impact of photographically illustrated books on American photography is a vast subject that remains largely unexplored. But it was through the venue of the book that the work of photographers Paul Strand, Henri Cartier-Bresson, and Robert Frank first reached a world audience. Ansel Adams was one of many photographers who recognized the potential of the published volume as a vehicle for promoting social and aesthetic ideas. The last great photographic project of Adams's career was the publication Fiat Lux, published by the University of California in 1967. Adams worked on Fiat Lux for five years, generating approximately 6,700 negatives, or roughly 15% of his total life's work.1 But Adams's images for Fiat Lux have been largely ignored. They are not included in the core selection of Adams's material which has been repeatedly published and exhibited. Such exhibitions routinely focus on Adams as a master of the photographic landscape and serve to perpetuate his almost mythic position as a venerated 9 member of the pantheon of photographic artists. But another side of Adams can be seen through an examination of his publications, specifically, the production of commercial books. Throughout the 1950s and '60s Adams collaborated with Nancy Newhall on eight books devoted to photography. These collaborations arose from their shared interest in furthering the position of artistic photography within popular American culture. The Pageant of History in Northern California (1954), created for the American Trust Company of San Francisco, and Fiat Lux (1967), commissioned by the University of California, stand apart from these other publications as books which were distinctly commercial in character. A number of similarities link the two projects. Both were intended by their patrons to serve as commemorative volumes celebrating the centennial of their respective institutions. The ultimate function was identical to create a work that would reflect the institution's commitment to the growth and prosperity of the State of California. A close examination of these two books (and the fifteen years that separate their publication) reveals how Adams's and Newhall's personal priorities influenced the final outcome of each project. This essay will examine the character of Adams's photographs, Newhall's text, and the spirit of their collaboration. It will 10 explore the decisions and compromises Adams and Newhall were compelled to make between the requirements of the commercial commission and the preservation of their personal agenda in promoting photography as a tool of visual communication. In 1952 and 1953 Adams and Newhall worked together on "Death Valley" and "Mission San Xavier del Bac," two articles commissioned as photographic travel pieces by Arizona Highways magazine. For Arizona Highways Adams applied a form of pictorial reportage that successfully conveyed visual information while still adhering to the formal aesthetic qualities of modernism. The two articles were widely successful. Within a year of publication in Arizona Highways both were published as independent volumes, and comprise the first two books on which Adams and Newhall collaborated. The commercial and artistic success of "Death Valley" and "San Xavier del Bac" helped build Adams's and Newhall's reputation, gaining them wider recognition than they had previously enjoyed. Sometime around the start of 1953, Adams was approached by the advertising firm of McCann- Erickson in San Francisco, to do a project for their client The American Trust Company. American Trust was a San Francisco-based bank originally established in 1854 during the height of the California gold rush. In 1960 American Trust was absorbed 11 by merger into the Wells Fargo Bank. This merger joined the two oldest banks in the American West, each of which had worked consciously to historicize their contributions to the growth of the region. In 1952 American Trust celebrated its history by commissioning a number of artistic projects to commemorate its coming centennial. Southern California painter Millard Sheets, a student of Mexican muralist David Alfaro Siquieros, was commissioned to create two maps that would be published and distributed by the bank to valued clients. The firm was also interested in hiring the Northern California photographer Adams to create a suite of photographs that would celebrate the state's growth and prosperity. Certainly, no other photographer was more suited to this project than the native San Franciscan Ansel Adams. At the time of the American Trust commission, the bulk of Adams's existing oeuvre focused on the California landscape, specifically, the areas around San Francisco and the Sierra Nevada where he and his family resided. His profound familiarity with the terrain and its development, coupled with his ability to translate his love for it onto film, undoubtedly suited the product envisioned by American Trust. Adams's personal search for a means of expressing the wonder he found in nature had led him to concentrate on photographing wilderness landscape. With Edward Weston, 12 Imogen Cunningham, and other members of the famed Group f/64, Adams developed an aesthetic based on using the objectivity of the camera to create images whose clarity and intensity of contrast would evoke a subjective, emotional response on the part of the viewer. Adams's ability to construct images of both detail and tonal intensity enabled his imagery to move beyond the documentary to the expressive. His technical mastery of the photographic medium enabled him to determine the appropriate filtration and exposure time necessary to achieve the negative density that would give his final prints the contrast he desired. Through this technique, which Adams called previsualization, he was able to establish both the visual composition and the emotional quality of the finished print before having even exposed the film in the camera.2 This sharp-focused, high- contrast imagery promoted by Adams and his circle supplanted the soft-focused pictorialist style to become the ideal mode of representation within artistic circles. Like his European counterparts, Brassai and Cartier- Bresson, Adams was far more willing to blur the line between commercial and artistic production than many of his American colleagues. The tradition of elevated principles established by Alfred Stieglitz at the turn of the century had called for the photographic artist 4o position himself as a member of the cultural elite, distinct from the 13 amateurs of the camera clubs or professionals who worked commercially. This lofty, idealized position was counteracted in the 1930s when, in the midst of the Great Depression, such distinguished American photographers as Walker Evans and Margaret Bourke-White began accepting commercial assignments from major magazines such as Life and Fortune. It was the willingness of these artists to produce commercial work that helped to disseminate and popularize the modernist aesthetic. It was in 1930, at the onset of the Depression, that Adams responsibilities as a family man prompted him to accept his first commercial commission. Yet Adams's insistent adherence to the modernist aesthetic ultimately aligned his commercial imagery more firmly with the realm of art than that of illustration. Like Evans, Bourke-White, and many others working during the 1930s and '40s, Adams routinely supplemented his income by accepting commercial commissions from publications like Life and Fortune magazines. The contract with the American Trust Company simply continued this practice on an expanded scale. The aesthetic sensibilities evident in Adams' earlier work were reinforced by political events of the early 1950s. In 1953, as Adams commenced serious work on the project for American Trust, the U.S.S.R. exploded its first hydrogen bomb. On September 7 Adams wrote to Newhall: 14 "I am getting more and more suspicious of 'abstract' art and more and more sympathetic with the thought that, as the world is probably going up in a Hydrogen Haze soon, we should all direct our thoughts to producing things of fundamental beauty and value.113 His conscious decision to maintain an aesthetic of "beauty and value" resulted in Adams's continued focus on the landscape. Technical and artistic experimentation was forsaken in favor of creating works whose clarity, harmony, and simplicity would reflect a timeless ideal of beauty. Adams chose instead to experiment with new forms of display rather than new forms of depiction. The sharp focused imagery espoused by Group f/64, that Adams had helped to make classic, had found an accepting audience. Adams goal became to broaden that audience by presenting his work through less traditional means. Because the majority of Adams's oeuvre was concerned with the Northern California landscape, he was able to cull from existing negatives a number of images that were extremely well suited to the American Trust project. Seven images, including the first three figures reproduced in the book, were from 8 x 10 inch negatives taken by Adams in the 1930s and '40s.4 Two are views of the California coastline near Carmel. Other early pictures include his famous images of Mt. Williamson. 1945, and a variant of Clearing Winter Storm, 1944. His selection of the 1938 image, Mariposa Courthouse. was especially appropriate (figure 1). The 1854 15 date of the building's dedication, so notably recorded in the image, aptly coincided with the date of American Trust's establishment. The inclusion of these images helped establish the aesthetic tone of the project. These photographs are classically modernist compositions, sharply focused and highly detailed, in which the images are constructed by balancing the forms depicted with the values of light that they reflect. The subject is depicted as self-contained and seems, therefore, to stand outside of time and space. Adams special ability to capture qualities of light gave his works an iconic quality. All other reproductions in The Pageant of History in Northern California were from negatives generated specifically for the Pageant project. Technically these images convey the same aesthetic concerns evident in his earlier negatives; but, in obvious acquiescence to the concerns of the client, the content or subject matter had changed considerably. Adams had begun scouting locations in June 1953, even before the contract with American Trust was signed. It had already been decided that the work would chronicle the history of California with certain emphasis on the development of industry. Specific forms of commerce that had been pioneered, subsidized, or supported by American Trust would be given prominent treatment. 16 Throughout its history American Trust had devoted a significant portion of its energies to the agricultural development of the rich farmland of Northern California.5 This emphasis is reflected in Adams's photographs where nine of the fifty-seven reproductions relate to agricultural development. An equally substantial number of images focus on shipping, an industry American Trust had scrupulously supported since San Francisco first gained recognition as a world port in the mid-nineteenth-century.6 Adams worked diligently to present the industry from a wide variety of perspectives (figures 2-3). He spent an entire day on the harbor ferries, riding across San Francisco Bay seeing what viewpoints presented themselves, and another day was spent in an airplane, taking aerial views of harbor traffic. The intended audience for The Pageant of History in Northern California was comprised of prominent civic, financial, and industrial leaders. It was a select audience whose members held firm preconceptions of how their state should be portrayed. The project was not conceived of as a didactic exercise; rather, its purpose was to reaffirm the beliefs regarding California's preeminence that its audience already held to be true. Idealized descriptions of California as a land of plenty had been popularized throughout the nineteenth century by travel guides published by the railroads to promote tourism and development. This 17 perception was supported in the twentieth century by Hollywood's glamorized depictions of California as a heaven on earth. The image of California as a land of new beginnings was based equally on abundant natural resources and abundant natural beauty. Whether admired or resented, the prevailing view of the "Golden State" as a land whose bounty assured the fulfillment of the American Dream became accepted nationwide. Since any work with Adams's name on it was certainly expected to contain the prerequisite images of California's natural wonders this worked to the advantage of American Trust. The trick, then, for Adams was to find the perfect blend of images dealing with nature and images dealing with development. By combining existing file photographs of the California landscape with the newly generated images of industry Adams was able to steer a path between the client's expectations and his own aesthetic agenda. The project was organized and coordinated by Ken Jones of McCann-Erickson, who acted as liaison, negotiating with Adams to establish fees and schedules, while simultaneously assuring the bankers at American Trust that their money was being wisely spent. Negotiations between Adams and the bank continued throughout May and June 1953. As Adams and Jones discussed what possible forms the project might take, either as a portfolio of images or a published volume, it became 18 increasingly evident that an author would be required to provide an accompanying text. Adams began to lobby for the hiring of his friend Nancy Newhall by circulating to officials at McCann-Erickson and American Trust copies of her recently published book, Time in New England, which had appeared in 1950.7 It is evident that Adams had Newhall in mind from the start. Certainly Adams was eager to continue their collaboration. But, more importantly, the expressions of history and place, that she had created while working with Strand on Time in New England were profoundly suited to the concept put forward by American Trust. On June 15, 1953, Adams wrote to Newhall in Rochester, New York: "As soon as possible I shall get you started on some quote research on California History for the A.T. Co. project. I hope I can get you the text part of the project. That is, if you want it."8 Originally trained as a painter, Nancy Newhall had devoted her life to photography soon after her marriage to the art historian Beaumont Newhall in 1936. In the late '30s the Newhalls had successfully lobbied the administration of New York's Museum of Modern Art to found the first curatorial department in an American museum devoted to photography. In 1940, with the support of Museum director Conger Goodyear, Beaumont, who had been working as 19 the Museum's librarian, was installed as the department's first Curator of Photography. When her husband was called to active duty as a major in the Army Air Force in 1942, Nancy stepped in as acting curator of the department, quickly gaining a reputation as a distinguished writer, curator, editor, and critic of the medium. Under her administration the first major retrospective exhibition of the work of a single photographer was installed in the MoMA galleries in 1945. Devoted to the life and work of Paul Strand, this exhibition led directly to their collaboration five years later on Time in New England. Newhall was quick to recognized that the book format was an ideal way to build an audience and gain increased awareness of photography as a form of visual communication. The format she developed for Time in New England turned out to be highly effective. For this seminal project Newhall combined Strand's imagery with quotations from historic texts. The resultant synergism, created by the integration and interaction of words and pictures, achieved a far greater impact than either medium could have accomplished alone. This emotional and visual impact lay not in the text's verbal elucidation of the imagery, nor in the photographs visual clarification of the text, but in the dynamism of their combination. Newhall was especially skilled at organizing the 20 pictures and text in a layout that intensified the effect of this synergism. For Time in New England Newhall created verbal and visual linkages which, in turn, served to implicate greater issues regarding New England's history. The topics of revolution, abolition, and industrialization were each addressed. In one of the most commanding combinations, Newhall paired Strand's image of Splitting Granite with a letter written by Crispus Attucks to provincial Governor Thomas Hutchinson. In the letter Attucks condemns the British government's brutal treatment of its colonial subjects. When juxtaposed with this text, Strand's adjoining detail of a rocky fissure becomes symbolic, serving as metaphor for the division of England and its American colonies, as well as the solidity and strength of the American cause.9 The publication of photographic books combining text and image had been made popular at the end of the depression with the publications of such noted photographers as Margaret Bourke-White and Dorothea Lange. Though the publishing world considered Time in New England commercially unsuccessful, it was Newhall's and Strand's collaboration on this project which became the definitive model within artistic circles for how photographic publications could communicate social, historical, and political concerns. Adams himself had published fourteen photographic books 21 before 1950. But the majority of these books were either technical manuals or travel guides. Time in New England demonstrated how informed, thoughtful editing could raise the form to new levels of strength and intelligence. His personal and professional rapport with Newhall made a collaboration obvious. Without a doubt Adams hoped to capitalize on Newhall's expertise. His specific reference to "quote research" confirms that he envisioned a publication that.would be the California equivalent to Time in New England. For American Trust, more concerned with aesthetic effect than marketability, the format was ideal. At a meeting on July 1, 1953, McCann-Erickson handed Adams the reins. He was given virtually complete autonomy over the direction of the project with the sole stipulation that it be completed by March 1954.10 Adams telegramed Newhall immediately: "American Trust desirous your services as consultant editor researcher on my project.1111 He asked her to join him in California on July 14 to meet with the clients and present a project outline. Newhall accepted, signing on to provide written statements which would accompany both Adams photographs and Millard Sheets's maps. Adams and Newhall accepted a salary of $8,000 plus expenses for the Pageant project.12 In a gender-based inequity that went unquestioned, Adams received $5,000 while Newhall took 22 home $3,000." In his autobiography, published posthumously in 1986, Adams recalled the exceptional ability of Newhall to write with clarity and feeling on subjects with which she had little or no direct experience.14 Despite her frequent visits to San Francisco and Carmel, and the excursions she had made with Adams to Yosemite and the Sierra, there were many areas of Northern California with which Newliall remained personally unfamiliar. Her only comprehensive exposure to the region was through Adams's photographs. While Adams toured California making pictures, Newhall, now living with her husband in Rochester, New York, stayed in the East to conduct research and begin writing. By mail Adams supplied her with factual information about the locations he was considering and about the imagery he had generated, sending proof prints for her to review.15 Newhall would forward the prints back to him with her completed text, which Adams would then personally present to the client at timely intervals. It was agreed that, as the completion date drew near, Newhall would return to California to help finalize the project. The pattern of production Adams and Newhall had established for the Arizona Highways commissions helped make their collaboration easier. Each knew what to expect from the other. This helped simplify the work load and minimize 23 the time requirements, enabling Newhall to remain in the East. Her conscious decision to do so was based primarily on the desire to be near her husband, but it served additionally to distance her from her topic. This lent a romantic tone to her text which was, ultimately, well suited to the traditionally idealized portrait of California that American Trust wished portrayed. Although the initial conception of the project had included the creation of a book, a number of alternatives had actually been considered. During preliminary discussions the previous spring, the Directors of American Trust had mentioned a number of possibilities, including the production of billboards of Adams's images that could be located strategically throughout the city.16 However, in early November 1953, McCann-Erickson decided to stick with their original idea and produce a published volume.17 The final title, The Pageant of History in Northern Californiaf notably similar to that of the 1941 exhibition, A Pageant of

Photography r for which Adams had been curator at the Golden Gate International Exposition, was made firm sometime during the fall of 1953. McCann-Erickson was concerned over possible ramifications regarding the 1954 repeal of an excess-profits tax.18 They were eager to push to complete a maquette that could be sold to American Trust by the turn of the year.19 24 Throughout the Fall of 1953, progress on the project was slow and Adams was repeatedly forced to remind Newhall that it needed attention. He appealed to her to pacify McCann-Erickson by sending progress reports to Ken Jones. His concern grew so pressing that he finally sent a telegram on October 2 in an attempt to prod her into action. Newhall responded immediately, in a letter dated the same day, saying: "Tell Hap and Ken and Am. Trust Co. that from Nov. 1 and I hope a week or two earlier my time my devotion and my finest flights of fancy are all theirs..."20 Soon after, she forwarded Adams the manuscript that she had generated to accompany the publication of Millard Sheets's maps. Adams sent it on to the clients on October 18. Still within two weeks he felt compelled to nudge her again by writing: "I suggest you cook up something to show the bow- ties you are on the ball."21 American Trust had wanted a product that would be memorable and distinctive; a product that would promote the banks interests while not concentrating directly on its activities. The topic finally proposed by Adams and Newhall, focused in a general way on the history of Northern California, and enabled the company to indirectly associate itself with the overall development of the region. In the text, Newhall's retelling of California's history aligned American Trust with the growth and prosperity of the state. 25 In interpreting the history of California, Newhall created a portrait of a golden land whose development by a heroic breed of American resulted in a twentieth-century Eden. Newhall wrote: "Gold was changing the history of America and the world. In California gold was founding a new civilization. For each man who held in his hand a poke of gold dust, the horizons of thought and energy grew limitless. Old concepts fell from him like old clothes; in himself, he became an expanding universe.1122 Her chronicle of the state's history, from the Spanish conquest to American settlement to the gold rush, provided an analogical parallel to the growth and development of American Trust. In her text she created an ideological link between the financial endeavors of American Trust and the nationalist sentiments held over from the nineteenth century regarding Manifest Destiny, sentiments that had been reaffirmed by the Allied victory in 1945. This expansive, egalitarian view of California, previously put into question during the low days of the Great Depression by John Steinbeck, Dorothea Lange, and others, had reasserted itself during the economic boom following World War II. Newhall's text focused not only on California's natural beauty, but on advancements such as microwave technology made possible by post-war scientific refinements and the growth of industry. The juxtapositions of images and text established in Newhall's final layout of the Pageant of 26 History in Northern California enabled the words and pictures to interact in a mutually supportive way. In a reversal of standard illustrative practice, the photographs addressed specific topics while the text discussed the situation in generalities. Recent events, like the completion of the Shasta Dam, were dealt with straightforwardly by Adams's photographs, and only alluded to in Newhall's general and brief discussion of water management. These combinations fell short of achieving the synergistic intensity of Time in New England. While the format avoided the standard symbiosis of the contemporary photographic essay, it failed to move the work beyond the merely documentary. While The Pageant of History in Northern California received little acclaim from either the worlds of publishing or photography, the patrons were pleased. Adams thought enough of what he and Newhall had achieved to send a copy to Edward Weston.23 For Newhall the American Trust project was another step in her goal of gaining increased recognition for photography. On May 1, 1954 she wrote the following to Ken Jones: "What we have been working on as a team can set only an unprecedented high in prestige publications by industry (which should definitely resound to yours and the bank's advantage) but also a totally new high in the larger field of text-and-photo communication which is increasingly the most important in our time.1124 27 As planned, upon completion copies of The Pageant of History in Northern California were distributed by American Trust to its valued clients and to important civic leaders. One of the latter recipients was Dr. Clark Kerr, then Chancellor of the University of California at Berkeley. Four years later Kerr was promoted to the presidency of the state-wide university system in 1958. In addition to his routine duties as President, Kerr became responsible for planning the upcoming celebration of the University's centennial, to be held on Charter Day, March 23, 1968. Kerr later wrote that in meditating on ways to commemorate the centennial he specifically considered the creation of a book similar to one in his personal library, Adams's and Newhall's The Pageant of History in Northern California.25 Fiat Lux resulted directly from a conversation between Adams, Newhall, and Kerr at a cocktail party in Santa Cruz on March 26, 1963.26 Adams had met Kerr as early as 1961 when he was the recipient of an Honorary Degree from U.C. Berkeley in acknowledgement of his achievement as founder of the photography program at the San Francisco Art Institute, a part of the university system.27 The meeting in Santa Cruz gave Kerr the opportunity to initiate the centennial project. He followed up the informal conversation in Santa Cruz with a letter dated June 24, 1963, in which he officially requested Adams's and Newhall's participation. 28 Adams responded that both he and Mrs. Newhall were "tremendously interested" and agreed to meet with University

officials at Berkeley that August.28 Like The Pageant of History in Northern California ten years earlier, the intent of the project was to create a pictorial portrait of an institution at the time of its centennial. But unlike the project for American Trust, which had allied the patron with a more general theme, the Fiat Lux project required that Adams and Newhall focus specifically on the University and translate its activities, its manifestations, even its very ideologies into print. President Kerr promoted the project to the Board of Regents as an "attempt to capture the present-day spirit of the University and its relationships to the world around it."29 It was further declared that the project would focus not only on past achievements, but look toward future growth and the development of coming decades. Hands-on involvement of the University bureaucracy would make the experience very different from what Adams and Newhall had experienced while working on the Pageant project, where McCann-Erickson had run interference between the creative parties and the patron. At the Berkeley campus President Kerr established the Office of Centennial Publications to oversee the production of Fiat Lux and its accompanying publication, The Centennial Record. Verne Stadtman, of the Office of 29 Centennial Publications was ultimately responsible for ensuring that publication deadlines were met. He kept in constant contact with Adams throughout both the formative stages and the final production process. Negotiations were overseen by Dr. Earl Bolton, the University's Vice President in charge of Administration. Kerr advised Bolton to H[t]ry such and such a figure but do not lose him!1,30 Adams and Newhall met with Bolton at 2:30 on Tuesday, March 31, 1964, to finalize negotiations. The agreed payment totaled $75,000.31 Publication was slated for early 1967. Adams and Newhall attended the University's Charter Day celebrations on April 2, 1964, and then began what Adams called "the Grand Tour," travelling through the Northern campuses at Berkeley, Davis, and Santa Cruz, before heading south to Santa Barbara, Los Angeles, Irvine, and San Diego.32 Presumably, on this tour the two met with officials from the various branches of the institution and discussed which strengths each campus wished to promote. In an undated memorandum, sent to Newhall, Adams sketched out his "Photographic Approach to U. of C. Book": "It will be my objective to apply a... strong compositional effect which will relate well to stylizations of form, values, and textures... My own work should be consistent in mood and approach. I hope to use the smaller cameras for a lot of it to preserve the feeling of spontaneity. The contrasts should be brilliant, but there should be a feeling of light 30

rather than a somber tonality throughout.33 Adams recognized that standardizing his approach would prove advantageous when dealing with locations as diverse as those encompassed by the University system. The environments ranged from the desert to the sea and contained eclectic architectural forms whose styles ranged from the nineteenth century Romanesque Revival to the modern. By standardizing his approach to these locations Adams hoped to create dynamic, optimistic images that would capture the buoyant spirit of the University a the height of its power. Sometime in August 1964, in an attempt to facilitate his image-making, Adams generated a questionnaire that he distributed to various public affairs personnel throughout the University system. Questions ranged from information on important academic events such as Charter Day or Commencement, to specific queries about the weather. He asked about the best times for ideal atmospheric conditions, good cloud effects, the best season for foliage, and the nearest recommended motel.34 With his assistant, Liliane De Cock, Adams began touring campuses and field stations taking picture. In the nine year interim, between the publication of The Pageant of History in Northern California and the acceptance of the Fiat Lux commission, the ever-prolific Adams had published seven more books devoted to photography. 31 In addition, Adams and Newhall together had collaborated on three publications, two major exhibitions, and a film. At the time of Kerr's proposal they were deeply involved in the preparation of Adams's retrospective exhibition, and the accompanying catalog, The Eloquent Light, organized for the de Young Museum in San Francisco in 1963. During this period Adams's ongoing involvement with the conservation activities of the Sierra Club had increased steadily. It was, in fact, the newly founded Sierra Club publications project that had produced three books on which Adams and Newhall collaborated during the early 1960s. Historian Jonathan Spaulding has convincingly argued that later charges claiming Adams's artistic evolution went stagnant in his later years are misplaced.35 Rather, it was Adams's environmentalism that resulted in a conscious decision to continue producing images that reflect the view of nature which he had made classic, in the hope of increasing public awareness through his work.36 In this way Adams, the environmentalist, made nature a part of his artistic agenda, just as the socialist Paul Strand had done with his portraits of the common man. Initially, Adams did not work exclusively on Fiat Lux. Yet the demands made by the University steadily increased. While still maintaining deep involvement in a variety of projects and organizations, by 1966 his attention was 32 focused on Fiat Lux. Adams's photographs of the University, in all its forms, capture the dedication to investigation, experimentation, and research that had made the University of California the strongest public educational system in the country. However, an examination of the imagery shows that his outdoor work is by far the more forceful. Cases in point are the photographs View East from Fire Lookout Tower. Lick Observatory and Geology Field Trip. Riverside (Joshua Tree National Monument1 (figures 4-5). Unsurprisingly, these images represent the scenic natural view for which Adams is best known and which best exemplifies his work. The locations are described by a raking light which accentuates both the human and natural forms. Adams's depiction of Lick Observatory treats the monolithic domes which house the telescopes with the same dignity given to the natural forms of the towering rocks at Joshua Tree. The compositional unity and clarity of depiction helps to move the work between the metaphorical and the descriptive. Adams was far less successful with the urban landscape, finding many of the campus environs uninspiring and visually unappealing. To Newhall, he candidly stated that he considered the environs of the campuses to be "conventional, photographically speaking."37 When contrasted to his images of the University field stations, Adams's views of 33 the urban campuses are stiff and contrived. According to De Cock, Adams despaired of capturing the spirit of the campus at Irvine and resorted to formulaic approaches of the kind often used by architectural photographers, framing the scenes behind available plant life to make both his images, and the campus, appear more attractive (figures 6-7).38 Indeed, Adams resorted to quotations from his own body of work in an attempts to dignify or dramatize the locations. The 1966 view of the Los Angeles campus, simply titled Moonrise. U.C.L.A.. (figure 8) bears a self-conscious reference to his earlier Moonrise over Hernandez. New Mexico of 1941. For Fiat Lux Adams duplicated the technique of aerial shooting he had applied in The Pageant of History in Northern California, spending at least one day photographing rice fields near Davis from the air. In fact, a number of images taken for Fiat Lux are direct quotations from images taken earlier for The Pageant of History in Northern California. Photographs of the Redwoods. Richardson Grove and the Delta-Mendota Canal are echoed in the later images of the Redwood Forest. Founders Grove and a Canal Near Davis (figures 9-12). The use of quotations from his own work serves as evidence for how vast and overwhelming Adams must have found the assignment. Adams was called upon to make the redundant and repetitive campus environments appear as varied and 34 interesting as possible. His chosen recourse was certainly one of expediency. By resorting to such compositional contrivances as framing a building with plant life and photographing from the air, Adams was able to help move the project along. In addition, such imagery serves to reaffirm the existing values of the university, as promoted by President Kerr, rather than create a new vision. The University was eager to include representations of its community and had requested the inclusion of portraits of distinguished professors. Adams sought to fulfill this condition by depicting his subjects in their professional environments, a method he hoped would meet the objective "without stressing any particular individual.1139 Unfortunately, the locations most suited to a description of the sitter; laboratories, libraries, and classrooms, were repetitious, uninspiring, and not conducive to the creative artistry he hoped his work would contain. For Adams, a genius at the photographic landscape, portraiture was not a particular strength. He attempted to meet the challenge of creatively handling repetitive situations and subjects and was, indeed, successful with what may be considered one of the most impressive portraits of his career. Mr. Benjamin Foster (figure 13) of 1966, taken at a University field station in the Central Valley of California, is Strandian in its compositional integrity and 35 attention to form. Foster's face, framed by the whiteness of his hat and tie, is echoed in the rounded forms of the grapefruit hanging to his right. These patches of whiteness contrast sharply with the blackened space of the trees behind him. In his composition Adams's ennobles his subject by expressing the connection between the man and the land. But for the most part the aesthetic attitudes Adams's achieved in his landscapes failed to translate to portraiture. As he had done with the buildings of the Irvine campus, Adams was forced to employ the standard contrivances of commercial portraitists. His portraits of Oswald Jonas, Professor of Musicology at Riverside (figure 14), and A. Starker Leopold, Professor of Zoology at Berkeley (figure 15), are certainly not among his strongest creations. In each view the Professor is depicted framed by the equipment of his specialization, musical manuscripts on one hand, stuffed pheasants on the other. The presentation is stiff and contrived. The portraits are more in keeping with the anonymous imagery generated for any number of commercial commissions than portraits by the man then considered America's premier photographic artist. Adams and Newhall followed the same bicoastal working methods they had employed for The Pageant of History in Northern California, At home in Rochester, Newhall outlined her approach to the subject, deciding to present each campus 36 in terms of its geographical character in a way that would "prove the sites themselves are inspirations."40 This segued to a discussion of the main activities of each campus where the text would condense information on the character of each campus into "poetic and dynamic statements."41 Portraits of professors or students would be discussed when they were representative of important or unique aspects of the University's academic life. While the majority of Newhall's information was compiled during her own brief tours of the campuses, it was supplemented by correspondence received from Adams in the field. It is probably as a result of her dealings with Adams and his biases, which supported San Francisco in the time honored rivalry between the northern and southern portions of the state, that Newhall had to repeatedly remind herself that U.C.L.A. should be given equal treatment with Berkeley.42 The organization of the book focuses first on the major University campuses, then the field stations, and finally on the special projects supported by the University Extension program. To a degree, Newhall was able to call on the knowledge she had gained while researching historical data for The Paaeant of History in Northern California. Yet, it is certain that Fiat Lux provided a unique challenge for Newhall as author, requiring her to extend her expertise into fields of study that only specialists even knew 37 existed. The Office of Centennial Publications at Berkeley circulated her galleys to the departments or individuals discussed. Astronomists, agronomists, pomologists, and pathologists throughout the state were given the opportunity to edit her writing for factual inaccuracies. In consideration of a commission that was intended to serve a primarily academic audience, Newhall adopted an attitude that was far more formal than that of her earlier writing. Yet, when introducing each campus, the text discusses the climate and landscape in the same exuberant tone she used for The Pageant of History in Northern California. Newhall actually took great liberties in describing places about which she new little. As with the Pageant project, a significant portion of her information was supplied by Adams's recollections and gleaned from secondary sources rather than personal experience. She wrote: "Most of the year the skies above Irvine are white with haze or high fog...," a statement this time not supported by Adams's corresponding images which show clear skies in some views and storm clouds in others." The student revolts of the 1960s, which ultimately spread across the nation, began at the University of California campus at Berkeley. Dissention within the student body regarding the U.S. involvement in the war in Vietnam was intensified when the University administration 38 allowed the Army's ROTC recruitment center to set up a table on campus. Students argued that, if the administration could promote military involvement, it was within the their rights, as citizens, to promote political and social action. The Free Speech Movement was organized by students at Berkeley in response to the administrations attempts to prohibit the distribution of anti-war material. The issue quickly became a constitutional one regarding the academic and personal liberties of students. Tensions between students and the administration increased throughout the Fall. On December 4, 1964, Adams wrote Newhall: "The Univ. of Calif, is going through a really serious and dangerous trauma... It will be a little more difficult however, to establish the fact of the Happy Family. I think they are in for a period of conflict. But all I can gather is that things will go on exactly as usual; education is the objective.'144 Adams wrote with some foresight. The conflict of 1964 was resolved four days later when a faculty referendum, siding with the students, forced the administration to adopt a new policy. Yet the settlement of December 8 provided only a brief respite. On May 28, 1965, he wrote Newhall: "We sure got an interesting job ahead of us not exactly as we first saw it. A challenge, as it looks to me, more like the Manzanar than the Northern California book, which was a celebration 39 without shadows."45 He continued, "Of course it will be a greater book than either and it might very well be of world importance. The perspective of the next few years before actual publication seems to me crucial. What do you think?"46 While sympathetic to the student's cause, Adams remained optimistic that the disagreements could be resolved quickly and fairly. In terms of completing the project for which he was hired, he appears to have been determined not to let the severity of the political events alter or undermine the original goal of the project. In an attempt to comply with President Kerr's stated intention of portraying the relationships of the University to the world around it, Newhall included in the original maquette one image of student graffiti Adams had photographed at the

Riverside campus in 1966 (figure 16).47 This quiet image of protest subtly reflects the methods of passive resistance adopted by the student body. The inclusion of this image was vetoed by University officials and does not appear in the final publication. While Adams's correspondence reveals that the political events were a grave concern, the bulk of Adams's photographs show that the student disruptions in no way undermined his professional obligation to his client. Ultimately, the climate of unrest on campus forced Adams and Newhall to 40 adjudicate their client's position a great deal more than they ever had for American Trust. Page nineteen of the final publication contains his view of the corner of Sproul Plaza and Telegraph Avenue, Berkeley (figure 17). This intersection, where the Free Speech Movement conducted its rallies, was frequently the site of confrontations with local authorities. Yet Adams populates the image with clean cut students and young families with, small children. This idealized image neutralized the reality of the student demonstrators. In Adams's photograph the crowd appears representative of student life, denying the reality of the hippy culture and the student unrest. Newhall's quote that corresponds to the picture was taken from Chief Justice Earl Warren's 1967 convocation address. A proven advocate of civil rights, Warren had served as Governor of California before ascending to the Supreme Court. He was also an alumnus of the Berkeley Law School. The decision to quote Warren was especially apt and makes it clear that Newhall knew exactly what political notes to strike. In it Warren positively discusses the student body, stating: "I find them engaged in more good causes than the students of my day. And I am sure that after going through much travail they will find answers to some problems that we have been unwilling to face."48 The quote is as idealized as the picture itself and provides 41 only a generalized, albeit diplomatic, hint at the unsettled state of the University. The image is an example of how Adams and Newhall sanitized current events to focus instead on the ideal, longstanding, and timeless qualities of the University. While this modus operandi stood in direct opposition to Kerr's stated intention of portraying the relationships of the University to the world around it, it nonetheless met another criteria of the commission that they look toward the future. The world was in a state of crisis that Adams and Newhall strategically omitted on the correct assumption that it would not always be so. On January 5, 1967, an event occurred which had lasting repercussions for the Fiat Lux project. On that day, in Sacramento, Ronald Reagan was inaugurated as Governor of California. A significant portion of Reagan's campaign platform had included censures against California's public education system. Specifically, Reagan had campaigned against the academic liberalism of the university, which he considered a hot bed of communism.49 University administrators were made scapegoats for the ongoing campus unrest.50 The Reagan administration sought to restore order and authority to the university by giving more power to the gubernatorial branch of government. The first meeting of the Board of Regents under Reagan's 42 administration took place on January 20, three weeks after the inaugural. Clark Kerr, an appointee of Reagan's predecessor, was fired. That spring the state government slashed the university's budget by twenty-nine percent. Funds for the centennial celebration, Kerr's pet project, were trimmed considerably. Although nearing completion, the publication of Fiat Lux was jeopardized. Finally, production and distribution of the book was contracted out to McGraw Hill in New York. Assured that a limited run of the book would be easily marketed to alumni and members of the university community, McGraw Hill salvaged the project. As with the Pageant project, Adams found himself repeatedly forced to prod Newhall into activity. There is little written correspondence between Adams and Newhall from this crucial period, but evidently things were not moving along as planned. It is apparent that the University's dissatisfaction with Adams's and Newhall's inability to meet deadlines and thus fulfill their contractual obligations regarding Fiat Lux resulted in some harsh exchanges. With their attentions consumed by more pressing political concerns, the last thing the University needed was inefficiency and ineptitude on the part of Adams and Newhall. Final layout and copy for the first segment were to 43 have been submitted to the Office of Centennial Publications on January 7, 1967. Eight weeks later this deadline had not been met. Throughout the spring Stadtman bombarded Newhall and Adams with a series of increasingly exasperated admonitions regarding the status of the project.51 The collaborators argued that enforced deadlines might diminish the overall quality of the project, claiming that the University was more important than a deadline. In a letter dated March 3, Verne Stadtman countered that the University was more important than the book and could not be expected to deplete its resources to indulge Adams's and Newhall's failure to meet agreed upon schedules.52 Copy for the second segment, due at the Office of Centennial Publications on March 30, and at the printer's on April 11, had not arrived by April 12. On April 15, 1967, when the crisis had abated, Adams wrote Beaumont: "[Nancy] does not know it but the book was in definite peril around the 1st of the year and I was scared to death. The agreement clearly stated that it was to be finished in the late FALL. In a legal sense I was liable for the entire money expended should the contract have been cancelled.1,53 But the inclusion in the text of the quote from Earl Warren's 1967 convocation address shows that the work had still not been concluded by May of that year.54 One thing that held things up was Newhall's attempt at quality 44 control. In an attempt to ensure that the reproductions were of satisfactory caliber, Newhall insisted that she personally sign off on the final paste ups and blue

lines.55 This required shipping the material to her in Rochester to receive her approval, which delayed the final printing and plate-making. In mid-July, when the University was made aware of the situation, Verne Stadtman halted the

practice immediately.56 Advance copies of Fiat Lux were out by October 13, 1967. Newhall wrote to Adams that reactions from Rochester were extremely favorable, stating "First reactions to Fiat Lux seem to indicate we may have a WOW on our hands! People sit up all night reading it aloud!"57 Letters of congratulations poured in from members of the University community. Clark Kerr wrote to Nancy that their inspired work had made his dream come true.58 For professors, administrators, and alumni, Fiat Lux became a favored Christmas gift that year. But bitter residues regarding the production of Fiat Lux remained, and Adams's relationship with the University of California, which he had cultivated for over a decade, was shaken. For Adams Fiat Lux was a terrible disappointment.59 Certainly Adams felt that the intensity of his effort was not appreciated.60 The attention to quality and craftsmanship that Adams and Newhall had 45 attempted were, they felt, negated in the administration's eyes by their inability to work within the bureaucratic system. A dream which Adams and Newhall shared was for the founding of a living, vital research center devoted to photographic history. Ultimately, Adams was believing that the University did not share this dream and was not sufficiently interested in the power and promise of the photographic art.61 Apparently Fiat Lux failed to persuade them otherwise.62 It is possible that the University's irritation over Fiat Lux resulted in an unwillingness to negotiate for the acquisition of Adams's collection and archive, precipitating the founding of the Center for Creative Photography at the University of Arizona in 1975. Eventually, Adams rejected both Fiat Lux and The Pageant of History in Northern California as unsuited to the greater ideals and accomplishments for which he wished to be remembered. But it was through such commercial endeavors that Adams was able to address the realistic and practical issue of supporting his family while simultaneously advancing the position of photography in American culture. With high-minded purpose Ansel Adams sought to use the medium of the photographic book to promote his personal issues of art and environmentalism by creating a publication that would equal in importance Paul Strand's Time in New England. It was only logical that he turn to Strand's 46 collaborator, the progenetrix of Time in New England, and his good friend, Nancy Newhall, to help fulfill this goal. Adams hoped that, through content and quality, The Pageant of History in Northern California and later Fiat Lux would satisfy his dream. It is clear that the results failed to meet either the author's or the artist's expectations. Explanations of why the combined talents of Adams and Newhall were unable to achieve commercial or artistic success in either publication can only remain speculative. Certainly, the commercial aspect of each project constrained their creativity to some extent. As a disciplined, professional Adams would have chosen to edify his client by accepting the inclusion of repetitious portraits and lifeless views of architecture. In the case of Fiat Lux, this compromise was countered by Adams's belief that the tribute bestowed upon him by the University was one which could serve to validate his career as a photographer.63 But the undermining of Fiat Lux by political events resulted in a work of diminished scope. Adams's disappointment was acute.64 He makes no mention of the University of California in his autobiography. Fiat Lux is listed merely as one of his many collaborations with Newhall, but the project is not discussed in any way. The Pageant of History in Northern California provided a more realistic opportunity for Adams and Newhall to attain 47 their goal. The freedoms they were afforded by American Trust and McCann-Erickson could have facillitated the creation of a book that would have equaled Time in New England in strength and stature. But, as with Fiat Lux, it is possible that political circumstances undermined the artists's confidence and prompted a more moderate approach. The communist witch hunts of Senator Joseph McCarthy and the House Committee on Un-American Activities ultimately prompted Paul Strand's emmigration to France in 1951. While Adams's reputation in California would have helped to spare him from conservative criticism, it is possible that the team chose to avoid potential controversy by tempering any social or political content. In 1964, Newhall wrote Adams from Rochester saying "You and I are collaborators in a fuller sense than most people understand; you are no more merely the illustrator than I am the writer. What you do informs me and vice versa."65 The truth of this insight is certainly evident in the production of these two commercial publications. Adams and Newhall complemented each other in an extraordinary way. Despite the difficulties encountered in dealing with demanding clients, in working "together" while separated by a continent, and in creatively handling a subject that was often banal, Adams and Newhall masterfully produced "things of fundamental beauty and value." In The Pageant of History 48 in Northern California and Fiat Lux the compromises reached by Adams and Newhall ultimately helped bring their work to an increased audience, broadened public awareness of the photographic art, and furthered a cause in which they both passionately believed. 49

NOTES

1. Interview with Roy McJunkin, March 13, 1992. 2. Alinder, James and John Szarkowski. Ansel Adams: Classic Images (Boston: Little, Brown and Company, 1986), p. 106. 3. Center for Creative Photography, The University of Arizona, Tucson. Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated September 7, 1953. 4. File photographs reproduced in The Pageant of History in Northern California are: Fig. 1, Pacific Ocean. Sunset. Near Carmel Highlands. 1946; Fig. 2, Mt. Williamson. 1944/45; Fig. 3, Pt. Sur. Ocean and Surf. 1946; Fig. 20, Richardson Grove. Redwoods. 1946; Fig. 22, Mariposa Courthouse. 1938; Fig. 30, Old Statues. Sutro Gardens. Lands End. pre 1930s; Fig. 56, Clearing Winter Storm (variant), 1944. 5. CCP. Ansel Adams Archive. Report by Walter R. Shoaff, '"Since 1854.' An Outline of the History of American Trust Company," p. 43. 6. Ibid. 7. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated July 1, 1953. 8. CCP. Newhall Collection, Letter to Nancy Newhall form Ansel adams dated June 15, 1953. 9. Rohrbach, John. "Time in New England: Creating a Usable Past," Paul Strand. Essays on His Life and Work (Millerton, N.Y.: Aperture, 1990), p. 170. 10. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated July 1, 1953. 11. CCP. Newhall Collection. Telegram to Nancy Newhall from Ansel Adams dated July 1, 1953. 12. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated July 1, 1953. 13. Ibid. 14. Ansel Adams An Autobiography (Boston: Little, Brown and Company, 1986), p. 214. 50

15. A report generated by the Training Division at American Trust in 1949 still exists in Adams's files. See CCP. Adams Archive. Report by Walter R. Schoaf, ,,xSince 1854. * An Outline of the History of the American Trust Company," revised August 1949. This report, distributed by American Trust to new employees, outlines the history of bank and its founding officers, highlighting their key endeavors. It seems improbable that Newhall was not given the opportunity to review this report and glean from it pertinent information regarding the bank's interests that would strengthen her discussion. But, either deliberately or as an oversight, the report remained in Adams's possession. 16. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated July 1, 1953. 17. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated November 4, 1953. 18. Ibid. 19. Ibid. 20. CCP. Newhall Collection. Letter to Ansel Adams from Nancy Newhall dated October 2, 1953. 21. CCP. Newhall Collection. Undated letter to Nancy Newhall from Ansel Adams, ca. October 30, 1953. 22. Adams, Ansel and Nancy Newhall. The Pageant of History in Northern California. (San Francisco: The American Trust Company, 1954), n.p. 23. CCP. Edward Weston Archive. Letter to Edward Weston from Ansel Adams dated December 4, 1954. 24. CCP. Newhall Collection. Letter to Ken Jones from Nancy Newhall dated May 1, 1954. 25. Wortz, Melinda, ed. Ansel Adams; Fiat Lux (Irvine, CA: Phoenix Press, 1990), p. 11. 26. Ibid., p. 24. 27. Stadtman, Verne A., ed. The Centennial Record of the University of California (Berkeley, CA: University of California Press, 1967), p. 460. 28. CCP. Newhall Collection. Letter to Clark Kerr from Ansel Adams dated July 2, 1963. 51

29. Wortz, p. 13.'" 30. Wortz, p. 12. 31. Interview with Roy McJunkin, March 13, 1992. The original contract between Adams, Newhall, and the University is not among the documents in either the Adams Archive at the Center for Creative Photography or in the records of the University of California. 32. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated February 24, 1964. 33. CCP. Newhall Collection. Undated memorandum to Nancy Newhall from Ansel Adams. 34. CCP. Newhall Collection. Undated questionnaire. 35. Spaulding, Jonathan. "The Natural Scene and the Social Good: The Artistic Education of Ansel Adams," (Pacific Historical Review. Vol. LX, No. 1, February 1991), p. 17. 36. Ibid. 37. CCP. Newhall Collection. Undated memorandum to Nancy Newhall from Ansel Adams. 38. Wortz, p. 30. 39. Ibid. 40. CCP. Newhall Collection. Undated memorandum by Nancy Newhall. 41. Ibid. 42. Ibid. 43. Adams, Ansel and Nancy Newhall. Fiat Lux: The University of California. (New York: McGraw Hill, 1967), p. 56. 44. CCP. Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated December 4, 1964. 45. CCP. Adams Archive. Letter to Nancy Newhall from Ansel Adams dated May 28, 1965. 46. Ibid. 52 47. CCP. Adams Archive. Fiat Lux proof prints. 48. Adams and Newhall. Fiat Lux, p. 19. 49. Brown, Edmund G. Reagan and Reality. (New York: Praeger Publishers, 1970), p. 149. 50. Ibid., p. 144. 51. CCP. Adams Archive. Letters from Verne Stadtman regarding unmet deadlines were sent to Adams and Newhall on March 3, April 12, May 12, and July 12, 1967. 52. CCP. Newhall Collection. Letter to Ansel Adams and Nancy Newhall from Verne Stadtman dated March 3, 1967. 53. CCP. Newhall Collection. Letter to Beaumont Newhall from Ansel Adams dated April 15, 1967. 54. Adams and Newhall. Fiat Lux, p. 19. 55. CCP. Newhall Collection. Letter to Nancy Newhall from Verne Stadtman dated July 12, 1967. 56. Ibid. 57. CCP. Adams Archive. Letter to Ansel Adams from Nancy Newhall dated October 26, 1967. 58. CCP. Newhall Collection. Letter to Nancy Newhall from Clark Kerr dated October 31, 1967. 59. Interview with William Turnage, November 19, 1992. 60. Interview with William Turnage, November 19, 1992. 61. Interview with William Turnage, November 19, 1992. 62. The University's lack of foresight was keenly felt in 1991 when an exhibition of Adams's photographs from Fiat Lux toured the university galleries. Ansel Adams: Fiat Lux became the most highly attended exhibition ever mounted at each of the seven venues. 63. Interview with William Turnage, November 19, 1992. 64. Interview with.William turnage, November 19, 1992. 53

65. CCP. Adams Archive. Letter to Ansel Adams from Nancy Newhall dated May 10, 1964. APPENDIX A: PERMISSIONS

THE ANSEL ADAMS PUBLISHING RIGHTS TRUST

TniaceJ: John P Scliacfcr William A. Turrugc pjvld || Vena

25 November 1992 Louise Stover 1002 N. Jerrle Aye. #18 Tucson. A2 85711 Dear Ms. Stover;

The Trustees of The Ansel Adams Publishing Rights Trust agree to grant you permission to use the quotes referenced In your FAX of 2^ November 1992. it is understood that they will be wsec| in your Master's thesis. This is a one-time use permission only. You PAX asked permission to reproduce eight Images pn page pne and five ImAges on page 4. Which is correct? jf we are to supply the reproduction prints the cost will be $5Q0/|m3ge. If you get prints from the Center there will be 3 $250 fee for the use of flye photographs- We must also be appraised of the number copies pf your thesis yon intend to print.

I think some of your titles are incorrect and when you have decided on the number .of Images I will research the titles 3nc) gej. the porrect names for you.

Sincerely,

Rod Preiser

ItJl yin Wjy Cirmd, CA 9392J M08) 621-2558 fax: (-J08) 62^2568 THE ANSEL ADAMS PUBLISHING RIGHTS TRUST

Truileca .Mm P SJuclcr Milium A Tuinagc Da\ld H Vena

7 December 1992

Louise Stover 1002 N. Jerrie Ave. #18 Tucson, AZ 85711

Dear Ms. Stover:

The Trustees of The Ansel Adanis Publishing Rights Trust agree to grant you permission to use the quotes referenced in your FAX of 24 November 1992. It is understood that they will be used in your Master's thesis. This is a one-time use permission only. The Trustees further agree to permit you to reproduce the following images:

Redwoods. North Coast Country Mariposa Courthouse, Mariposa Delta-Mendota Canal. West of Modesto Waterfront, San Francisco Shipbuilding. San Francisco

Please note that the image may not be cropped, printed through the gutter, nor may anything be superimposed across its surface. The credit line must read as follows:

Photograph by Ansel Adams, Copyright © 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved.

You have permission to reproduce the images from the book The Pageant of History In Northern eqljforniq. Sincerely.

Rod Dresser

181 Vjn t-.s Way Oritic), Cv Kjx; l-tOfil 56

Beaumont NewMl Route 7 Box 126 C Santa Fe, New Mexico 87505

505 982-1216

November 5, 1992

Ms. Louise Stover The University of Arizona Department of Art Tucson, AZ 85721

Dear Ms. Stover;

I am very interested to learn that your master's thesis will be on the past collaboration of work between my late wife and Ansel Adams.

I don't see a problem with you using quotes from Nancy's letters as you have stated in your letter to me. I would only ask that you send a copy of your thesis to me upon completion. X would like to read it and it is also important for me to keep any papers in my files which include quotes that I have giyen permission to use.

I look forward to reading your thesis and J wish you the best of luck in completing it.

Sincerely,

Beaumont Newhall

BN/df FFCOII CM IIUSEUII Of PMOTCLUHFIPHY. UC RIUERSIDE 12.10.1S*2 11> 4

UNIVERSITY OF CALIFORNIA, RIVERSIDE

NRI\KI:I LV • I>AVI» • UIVINI. • IOS U J • IIIVL-IUIUK < IAN nieco • IAH PIMNCMKO IANTA IltllllAltA • IAKTA CKOI

CALIFOKNIA MUSEUM OK I'llOTOCiKAI'ilY RIVERSIDE, CALIFOHNIA 82B2I (7H) 787 4767

December 9, 1992

Louise Stowe Center for Creative Photography University of Arizona Tusont, Az 85719

Louise Stowe has permission to reproduce the seven Ansel Adams contact prints for her master's thesis, in return for a copy of her thesis to be sent to the California Museum of Photography. The CMP owns the copyrights for the Fiat Lux negatives.

onathan Green

California Museum of Photography 58

APPENDIX B: ILLUSTRATIONS

E1REC1TE0 iOQ4.

Figure 1. ANSEL ADAMS. Mariposa Courthouse, Mariposa. 1938. Copyright ® 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved. 59

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Figure 2. ANSEL ADAMS. Waterfront. San Francisco, ca. 1953. Copyright ® 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved. 60

Figure 3. ANSEL ADAMS. Shipbuilding. San Francisco, ca. 1953. Copyright ® 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved. 61

Figure 4. ANSEL ADAMS. Geology Field Trip. Riverside (Joshua Tree National Monuments, ca. 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 62

Figure 5. ANSEL ADAMS. View East from Fire Lookout Tower. Lick Observatory. 1964. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. Figure 6. ANSEL ADAMS. Science Lecture Hall. Natural Science Building. Irvine. 1967. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 64

Figure 7. ANSEL ADAMS. Campus Park. The Commons. and Library Administration Building. Irvine. 1967. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 65

Figure 8. ANSEL ADAMS. Moonrise. U.C.L.A.. 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 66

Figure 9. ANSEL ADAMS. Redwoods. North Coast Country. 1946. Copyright ® 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved. 67

Figure 10. ANSEL ADAMS. Redwood Forest. Founder's Grove. Avenue of the Giants. Humboldt Redwoods State Park. Forest Products Laboratoryr 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. Figure 11. ANSEL ADAMS. Delta-Mendota Canal. West of Modesto. ca. 1953. Copyright ° 1992 by the Trustees of The Ansel Adams Publishing Rights Trust. All Rights Reserved. 69

Figure 12. ANSEL ADAMS. Canal Near Davis, ca. 1967. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ° 1965, The Regents of the University of California. 70

Figure 13. ANSEL ADAMS. Mr. Benjamin Foster. 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ° 1965, The Regents of the University of California. 71

Figure 14. ANSEL ADAMS. Regents7 Professor of Musicoloav. Riverside (Dr. Oswald Jonas). ca. 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. Figure 15. ANSEL ADAMS. Collections fA. Starker Leopold. Professor of Zoologyr Berkeley^. ca. 1964-66. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 73

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Figure 16. ANSEL ADAMS. Graffiti. Riverside (Support International Davs of Protest. March 241. ca. 1966. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 74

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Figure 17. ANSEL ADAMS. Corner of Sproul Plaza and Telegraph Avenue. Berkeley, ca. 1965-67. California Museum of Photography, Sweeney/Rubin Ansel Adams Fiat Lux Collection, University of California, Riverside. Copyright ® 1965, The Regents of the University of California. 75 WORKS CITED

A. ARCHIVAL MATERIAL Center for Creative Photography, University of Arizona, Tucson. Ansel Adams Archive. Letter to Ansel Adams from Nancy Newhall dated February 28, 1964. Ansel Adams Archive. Letter to Ansel Adams from Nancy Newhall dated May 10, 1964. Ansel Adams Archive. Letter to Nancy Newhall from Ansel Adams dated May 28, 1965. Ansel Adams Archive. Letter to Edmund G. Brown, Governor of California from Ansel Adams dated May 9, 1966. Ansel Adams Archive. Letter to Ansel Adams and Nancy Newhall from Verne Stadtman, Office of Centennial Publications, the University of California dated March 3, 1967. . Ansel Adams Archive. Letter to Ansel Adams and Nancy Newhall from Verne Stadtman, Office of Centennial Publications, the University of California dated April 12, 1967. . Ansel Adams Archive. Letter to Ansel Adams and Nancy Newhall from Verne Stadtman, Office of Centennial Publications, the University of California dated May 12, 1967. . Ansel Adams Archive. Letter to Ansel Adams and Nancy Newhall from Verne Stadtman, Office of Centennial Publications, the University of California dated July 12, 1967. Ansel Adams Archive. Letter to Ansel Adams from Nancy Newhall dated October 26, 1967. . Ansel Adams Archive. Letter to Ansel Adams from Philip L. Boyd dated December 19, 1967. . Ansel Adams Archive. Report by Walter R. Shoaff, '"Since 1854.' An Outline of the History of The American Trust Company," revised August 1949. 76 . Ansel Adams Archive. Transcript of the University of California Oral History Interview with Ansel Adams, July 14, 1972. . Ansel Adams Archive. Photographic Materials: Negative log. . Ansel Adams Archive. Photographic Materials: The Pageant of History in Northern California proof prints, 1953-54. Ansel Adams Archive. Photographic Materials: Fiat Lux proof prints, 1963-67. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated June 15, 1953. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated July 1, 1953. . Beaumont and Nancy Newhall Collection. Telegram to Nancy Newhall from Ansel Adams dated July 1, 1953. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated September 7, 1953. . Beaumont and Nancy Newhall Collection. Telegram to Nancy Newhall from Ansel Adams dated October 2, 1953. . Beaumont and Nancy Newhall Collection. Letter to Ansel Adams from Nancy Newhall dated October 2, 1953. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams, undated, ca. October 30, 1953. Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated November 4, 1953. . Beaumont and Nancy Newhall Collection. Letter to Ken Jones from Nancy Newhall dated April 1, 1954. 77 . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated April 25, 1954. . Beaumont and Nancy Newhall Collection. Letter to Ken Jones from Nancy Newhall dated May 1, 1954. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated June 5, 1954. . Beaumont and Nancy Newhall Collection. Letter to Clark Kerr from Ansel Adams dated July 2, 1963. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated February 24, 1964. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated December 4, 1964. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ansel Adams dated September 20, 1965. . Beaumont and Nancy Newhall Collection. Letter to Beaumont Newhall from Ansel Adams dated April 15, 1967. . Beaumont and Nancy Newhall Collection. Letter to Verne Stadtman from Nancy Newhall dated October 31, 1967. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Clark Kerr dated October 31, 1967. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Harry R. Wellman dated November 16, 1967. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Paul Sheats dated December 1, 1967. . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Ivan Hinderaker dated December 7, 1967. 78 . Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Harry R. Wellman dated December 29, 1967. . Beaumont and Nancy Newhall Collection. Letter to Harry R. Wellman from Robert Finch dated December 29, 1967. Beaumont and Nancy Newhall Collection. Letter to Nancy Newhall from Charles J. Hitch dated January 11, 1968. . Beaumont and-Nancy Newhall Collection. Letter to Nancy Newhall from Barbara Morgan dated January 29, 1968. . Beaumont and Nancy Newhall Collection. Undated memorandum to Nancy Newhall from Ansel Adams. Beaumont and Nancy Newhall Collection. Undated memorandum by Nancy Newhall. . Beaumont and Nancy Newhall Collection. Undated questionnaire. . Paul Strand Archive. Letter to Paul Strand from Nancy Newhall dated September 22, 1953. Paul Strand Archive. Letter to Paul Strand from Nancy Newhall dated August 3, 1954. . Paul Strand Archive. Letter to Paul Strand from Nancy Newhall dated September 1, 1965. Paul Strand Archive. Letter to Paul Strand from Nancy Newhall dated October 18, 1967. Edward Weston Archive. Letter to Edward Weston from Ansel Adams dated December 4, 1954. . Edward Weston Archive. Undated letter to Edward Weston from Ansel Adams.

B. BOOKS AND ESSAYS Adams, Ansel and Nancy Newhall. The Pageant of History in Northern California. San Francisco, CA.: The American Trust Company, 1954. 79 Fiat Lux: The University of California. New York: McGraw Hill, 1967. Adams, Ansel and Josephine Miles. "A Vision of Light," California Monthly. Vol. LXXVIII, No. 5, March 1968, pp. 33- 65. Ansel Adams An Autobiography. Boston, MA.: Little, Brown and Company, 1986. Alinder, James and John Szarkowski. Ansel Adams: Classic Images. Boston: Little, Brown and Company, 1986. Alinder, Mary Street and Andrea Gray Stillman, ed. Ansel Adams Letters and Images 1916-1984. Boston, MA.: Little, Brown and Company, 1988. Bowles, Samuel. Our New West. Records of Travel Between The Mississippi River and the Pacific Ocean. Hartford, Ct.: Hartford Publishing Co., 1869. Brown, Edmund G. Reagan and Reality. New York: Praeger Publishers, 1970. Edkins, Diana E. "Nancy Newhall, 1908-1974," Afterimage. September 1974, p. 11. Edwards, Lee. Ronald Reagan. A Political Biography. Houston, TX.: Nordland Publishing International, 1980. Eynon, Bret. "Community in Motion: The Free Speech Movement, Civil Rights, and the Roots of the New Left," Oral History Review. Vol. 17, No. 1, Spring 1989, pp. 39-69. Hambourg, Maria Morria and Christopher Phillips. The New Vision: Photography Between the World Wars. New York: The Metropolitan Museum of Art, 1989. Heyns, Roger W. "A Message from Chancellor Heyns," California Monthly. Vol. LXXVIII, No. 5, March 1968, pp. 96. Hitch, Charles J. "A Message from President Hitch," California Monthly. Vol. LXXVIII, No. 5, March 1968, pp. 94. Irving, Carl. "Urban Tensions," The University of California Centennial. 1968, pp. 16-19. Keller, Judith. Paul Strand - People and Place. Malibu, CA.: The J. Paul Getty Museum, 1990. 80 May, Arthur J. "Artists of the Camera and Language On the University of California," The Rochester Times-Union. Saturday, May 25, 1968, pp. 3C. Newhall, Nancy. Ansel Adams: The Eloquent Light. Millerton, N.Y.: Aperture, Inc., 1980. Rohrbach, John. 11Time in New England: Creating a Usable Past," Paul Strand. Essays on His Life and Work. Millerton, N.Y.: Aperture, 1990. Rose, Doreen Kay. A Study of the Leadership of Clark Kerr and Samuel Hayakawa in the Resolution of Campus Conflict. Ed.D. diss., University of Southern California, Los Angeles, CA., 1977. Rule, Amy, ed. "The Letters Between Paul Strand and Ansel Adams," The Archive 27. 1990, pp. 49-99. Spaulding, Jonathan. "The Natural Scene and the Social Good: The Artistic Education of Ansel Adams," Pacific Historical Review. Vol. LX, No. 1, February 1991, pp. 15-42. Stadtman, Verne A., ed. The Centennial Record of the University of California. Berkeley, CA.: University of California, 1967. Strand, Paul and Nancy Newhall. Time in New England. New York: Oxford University Press, 1950. Wolffe, Peter D. The Wells Fargo Bank/American Trust Company Merger of 1960: A Retrospective Analysis. Ph.D. diss., Golden Gate University, San Francisco, 1982. Wolin, Sheldon S. and John H. Schaar. The Berkeley Rebellion and Bevond. New York, N.Y.: The New York Review, 1970.

Wortz, Melinda, ed. Ansel Adams: Fiat Luxr Irvine, CA.: Phoenix Press, 1990.

C. INTERVIEWS Brandenburg, Gus. Archivist, History Department, Wells Fargo Company, San Francisco, CA.: Interview with the author, October 29, 1992. 81 McJunkin, Roy. Collections Manager, California Museum of Photography, The University of California, Riverside, CA.: Interview with the author, March 13, 1992. . Interview with the author, November 4, 1992. Pehrson, John E. University of California Cooperative Extension Subtropical Specialist, Exeter, CA.: Interview with the author, May 4, 1992. Public Relations Office, University of California, Berkeley. Berkeley, CA.: Interview with the author, April 30, 1992. Turnage, William. Tucson, AZ.: Interview with the author, April 29, 1992. . Tucson, AZ.: Interview with the author, November 16, 1992.