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Marl SANDOZ's PORTRAIT of an ARTIST's YOUTH ROBERT HENRI's NEBRASKA YEARS University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1996 MARl SANDOZ'S PORTRAIT OF AN ARTIST'S YOUTH ROBERT HENRI'S NEBRASKA YEARS Helen Winter Stauffer University of Nebraska at Kearney Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Stauffer, Helen Winter, "MARl SANDOZ'S PORTRAIT OF AN ARTIST'S YOUTH ROBERT HENRI'S NEBRASKA YEARS" (1996). Great Plains Quarterly. 1130. https://digitalcommons.unl.edu/greatplainsquarterly/1130 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. FIG. l. Robert Henri, 1865-1929, Portrait of John J. Cozad, 1903, oil on canvas, 32 in. x 26 in. Courtesy of Sheldon Memorial Art Gallery, University of Nebraska-Lincoln. Gift of Olga N. Sheldon. A long time he looked at the dark intensity of the eyes, the whiteness of the face, the fine, thin nose, the heightened temples, the streaks in the hair and beard, the white linen sharp against the darkness of background and broadcloth.... Now finally, smiling into his father's eyes, the artist picked up a brush, dipped it into the black, and in the left-hand corner signed the portrait. He did it firmly, as always: Robert Henri, dotting the i very carefully.l 54 MARl SANDOZ'S PORTRAIT OF AN ARTIST'S YOUTH ROBERT HENRI'S NEBRASKA YEARS HELEN WINTER STAUFFER Robert Henri's life story would have appealed Sandoz's fascination was her 1960 historical to Mari Sandoz even if he were not an impor­ novel, Son of the Gamblin' Man. tant early twentieth-century American artist. Mari Sandoz, author of more than twenty Robert Henri (born Robert Henry Cozad) books about her native area, the trans-Mis­ came from a time, a place, and a family that at souri region, was born on a Niobrara River first glance seem unlikely to have produced an homestead in 1896; she grew up in a violent avant garde painter of landscapes, cityscapes, family in the sandhills of northwestern Ne­ and portraits; it was the sort of paradox Sandoz braska during the frontier period. When she liked to explore. That Henri had spent much was twenty-three, she moved east to Lincoln of his youth in her native Nebraska in a family and attended the University of Nebraska to headed by a magnetic and dominating man learn how to write about the world she knew. not unlike her own father also interested her. Later she would live in Denver for three years That the family left Nebraska in disgrace made before moving to New York City, but her fo­ the story even more inrriguing. The result of cus remained on the history, geography, and people of her native West. ORIGINS OF THE NOVEL In a letter written shortly after the publica­ tion of Son of the Gamblin' Man Sandoz ex­ Helen Winter Stauffer is professor of English, emerita, plained the novel's origins. at the University of Nebraska at Kearney. Her many publications include Mari Sandoz, Story Catcher of This book had its roots in my early child­ the Plains (1982), the standard biography of Sandoz, and Letters ofMari Sandoz (1992). hood out in the homestead period of north­ west Nebraska and in a combination of other circumstances. One was the presence [GPQ 16 (Winter 1996): 54-66] of several of the men involved in the Olive 55 56 GREAT PLAINS QUARTERLY, WINTER 1996 mob that hanged and burned the two set­ to study the components of that matrix, tlers, Mitchell and Ketchem in Custer the pressures and heats put upon it, the County, Nebraska. When the leaders of the crystalizations often partial and flawed, but mob were arrested it was suddenly very un­ now and then perfect, a well-faceted jewel. 2 healthy for the rest to remain where they could at the very least, be subpoenaed as Sandoz described her research for the novel, witnesses. They skipped out to the wilder explaining how she had gathered notes for this regions of northwest Nebraska, just open­ story while working on her Great Plains Se­ ing to white man occupancy then. ries; her trips to Cozad and Lexington, Ne­ As children we heard the stories some of braska; her interviews with old timers, whose them told about a gambler, John J. Cozad memories could reach back sixty years or so; who had stood against the Olives and their her searches through local and regional news­ outfit because, with money and guns they papers of the period as well as "newspaper ac­ controlled Plum Creek, the county seat of counts and letters ... from Denver to Ohio Dawson County, in which this Cozad had and the Atlantic coast."3 started a community and brought in home­ The last section of this long letter delin­ seekers for both the railroad lands he had eates her methods of shaping and writing the for sale and for the government land, free book. As always, she cross-indexed her infor­ for the taking, but claimed by cattlemen, mation and used it as an overview. Then she illegally of course. Because our father, "Old began her first chapter, writing as fast as pos­ Jules" Sandoz was a locator of homeseekers sible, usually in long-hand to get "some move­ too, and fought the battles of the settlers ment and mood into it, some foreboding." Next against the ranchers who were enforcing she laid out the complicated and contradic­ their lawless claim in the free land with tory material in sections, "evaluating sources, guns too, these stories had special poignancy judging the probabilities by later evidence." for us. As she usually did, she revised this first draft again and again, shaping the story. The interplay among land, animals, humans, and the introduction of a new culture to a I rewrote the book several times ... Then region was a major theme in all Sandoz's works. I took the manuscript back to Cozad and the Platte country to check on my descrip­ Growing up in a formative region, I be­ tions, on my sense of mood, of place, of came deeply interested in formative peri­ character. Finally, when it seemed I was ods, whether of a region, a group or losing more in freshness than the additional community, or of an individual. Later I dis­ polish justified, I stopped.4 covered that almost no one knew the ori­ gins of Robert Henri or that he spent the As Sandoz explains, she was drawn to an artist years from seven to seventeen in one of the whose formative years had been spent in a more violent regions of the west-Dawson region that was itself forming a culture. Nor County, Nebraska, the son of a professional were Henri and Sandoz alone in growing out gambler with the dream of building a per­ of the gray matrix of the Great Plains. Often fect community. these creative people seem to have grown up in isolation, the only ones of their generation Sandoz used her favorite simile to explain her in their community or family to develop their intent: genius. They came from various levels of soci­ ety, from different time periods, from families Such periods reminded me of the growth with widely different degrees of or interest in of a garnet from its gray matrix, and I wanted education. The Nebraska cohort included ROBERT HENRI'S NEBRASKA YEARS 57 Willa Cather, Weldon Kees, Wright Morris, not permit gambling in Cozad). An inveterate John G. N eihardt, Howard Hansen, and Loren entrepreneur and optimist, the locator is chal­ Eiseley. Others have noted this phenomenon, lenged constantly, often by his own settlers, but it was Mari Sandoz who was drawn to write who blame Cozad, whose recruiting posters on the Plains childhood of Robert Henri. had pictured a land of milk and honey where settlers find only drought, grasshoppers, bliz­ THE NOVEL ITSELF zards, hail, and cattlemen determined to drive the small landowners out. Cozad himself is Sandoz's book is to some extent a hildungs­ beset by the cattlemen, who control the re­ roman, depicting the development of the young gion from the Dawson County seat of Plum boy Robert Henry Cozad into the adult artist Creek (now Lexington) fifteen miles to the known as Robert Henri, but the book has two east. additional protagonists: Robert's father, John Robert, the younger son, who first comes to J. Cozad, the gambler and townsite promoter; the region in 1873 at the age of seven, is often and the land, the Platte River valley in Ne­ puzzled by his father's activities but, a typical braska. The story begins in 1872 with John J. Victorian child, he seldom asks questions, and Cozad walking near the 1OOth Meridian, north when he does, he is fobbed off with a vague or of the river, contemplating the development misleading answer. Robert is often aware of of a community of homesteaders. Typically, danger, and his feeling of foreboding appears Sandoz sketches in the landscape, indicating throughout. "Robert was uneasy about the both the beauty and the danger of the area: Denver trip" (255). "Robert Cozad knew he The "sweep of hay-length grass running in the had to be careful now" (261). "[Tlhe danger wind like some green and shadowed sea along he was just beginning to realize, danger so ter­ the bottoms, but tawnier, and russet in seed rible, with the talk of lynching, that it made toward the higher ground where he stood" his insides go like muddy water to think about (10), "the thick and glistening black ..
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