A recent trip to Scottsdale prompted a return visit to Western Spirit: Scottsdale’s Museum of the West, at 2d Street and Marshall Way—a fine place to spend a couple of hours. There’s a permanent exhibit of Western “stuff,” ranging from saddles to signage to six-shooters, plus special exhibitions.
On view until August 2020 are more than 300 works from the man called “the West’s greatest artist,” Maynard Dixon. Born in 1875, he lived during the time the frontier American West began to disappear.
When he was a child, the wars between Indians and European settlers still raged, Texas cowboys herded cattle north long distances to railheads, and “civilization” was as flimsy as the frontier town stage sets in Blazing Saddles. Dixon not only painted hundreds of notable landscapes and portraits, he was a prolific illustrator, producing cover art for magazines and illustrating popular novels.
Artists gave Easterners their first glimpses of the beautiful and dramatic West, but they were less appreciated on their home ground. Said Dixon,
“In those days in Arizona being an artist was something you just had to endure—or be smart enough to explain why. . . . If you were not working for the railroad, considering real estate or scouting for a mining company, what the hell were you? The drawings I made were no excuse and I was regarded as a wandering lunatic.”
Also at the museum, we had the chance to see a one-man show, “Wyatt Earp: A Life on the Frontier,” in which one of Earp’s descendants gave the true “not-what-you-learned-from-Hollywood” story. It was a lot of fun (tickets best ordered beforehand, though I don’t believe the website makes that clear). While this program may not regularly repeat, the museum offers frequent special events, noted on its website.
By coincidence, on this trip I was reading David Grann’s Killers of the Flower Moon, which puts a tragic twist on the story of the “conquest” of the West. In the 1870s, the Osage tribe had been driven into an unpropitious area—“broken, rocky, sterile, and utterly unfit for cultivation,” according to a Bureau of Indian Affairs agent. The Osage bought the land, located in what became northeast Oklahoma, thinking it so undesirable they would not be evicted again. Maynard Dixon’s works even evoke this suffering.
But the new reservation held a surprise. Oil. For a time in the 1920s, tribe members accumulated dollars in the millions, becoming the wealthiest people per capita in the world. Then the murders began.
It’s a riveting yet almost forgotten real-life tale of greed, corruption, and betrayal that reads like a novel. There’s even a bit part for J. Edgar Hoover, who intuited that solving this case would catapult his little agency—and himself—to national prominence.
Alas, we cannot look back at those days and think the exploitation of our beautiful West ended there. We are still losing it.
Or maybe this post should be titled “Small Museums: Part 2.” (Part 1 here.)