Telegram-herald., 1889-11-19

Every year he spends several months
ia the West, picking up now material.
When in New York. his afternoons are
spent IN the saddle, tho mornings given
up 20 work His studio is curious
place. The walls are lined and the
corners piled up with saddles and
brides and bits Of trappings Of the
ranchman and the Mexican horseman.
There are studies OF all types of horses
scattered about. Remington himself IS
a sturdy, stocky man OF fine physique,
tall. round faced and smooth shayen.
He has the artistic temperament TO a
dot. but ii is an athletic one. lis ways
OF work and his ideas are interesting as
characteristic Of the man who in three
short years has attained rank that
most people work life time for.
1T wasn't because / knew how TO
draw that | mot with my frst success,
hesays, for didn't: hst because knew
the West better than ans other man.
have been all over it, from the City OF
Mexico 70 the Saskatchewan up North.
They recognized latent quality in my
work which none other had.
My drawing is done alI.ost entirely
from memory. ! understand the horse
so that every movement OF his has
fixed itself upon me. For color effect,
a hand or fold in the sleeve. | some
times use a model, but that Is all. The
model is inactive, there is stiffness
about it, ana he struck an illustrative
pose. ''The subject is alive and in
action. Nature doesn't pose.
"As 20 drawing from photograph, ]
am thoroughly familiar with all instan-
taneous photography, but l never use
the camera now, l haven't for a year
past. The Photograph lacks the inter
est which ] seem TO be able 10 give 10
horse action. And the best attes-
tatiOn OF that is that my horse
is incorrectly drawn from the
Photographic standpoint We know
that tho uhotOCrarh must be correc-.
but IL 0OeSn / give the Impression. now
it is very easy for the artist who knows
how these horses move to observe and
feel the motion, and then reproduce it.
People have no time TO look at the
commonplace. The interesting never
occurs in nature as a whole, but in
pieces. 1t rarely ever happens that
one gets thoroughly good picture from
| a photograph. It's more what / leave
out than what l add. ! merely fix the
salient points.
Il think this; II one desires TO sue
cessfully draw the horse he should
| horses are as different as men. What
| success l have had has been because |
! have a horseman's knowledge of a
/ horse. No one can draw equestrian
| subjects unless he is an equestrian
| himself The most Of our American
| horse artists live in the middle OF New
/ York and aren't out among horses.
| These are the men, who, in picture
will put an Indian on 500 horse in
| stead OF the scrubbY pony he really
/ rides knowing the type IL is next the
! task 10 delneate il. Then the object
| is accomplished.
The matter Of saddlery and frontier
| trappin gs. the perfect knowledge of
them, opens up another and very wide
subject.
The Poles and the Russians. as a
nation. are the best horse artists They
not only paint and draw them but thcy
lead the world in the ir horse modelling
in bronze. Chilmunsky and Kowalsk '
are the most famous of these modelers.
/ In Poland and Russia there is a wide di-
versity OF horse stock and strain. rang
ing from the thorough bred in tho cities
20 thc COssack pony. Those people live
closer 20 their horses than we DO hero.
| There is a great deal in tho liking OF a
| horse 70 be able 70 draw him we'll But
I the American artist should easily lead,
il would seem, with such a variet 7
OF types as we have. the Western pony.
the American trotting oorse. and the
/ thorough bred runner. These ONLY
need to DO strongly individualized "a
/ win success Now there IS too much
sameness in the horses Of England.
In France, though the artists paint mag
n \