Evening star. [volume] (Washington, D.C.) 1854-1972, 1894-01-13

mines of Siberia, and that would be the
last anybody would hear of you. After the
things KEENAN, wrote about them, no
American can live very long in Russia If
he is going to make pictures or write arti-
cles."
Remington has the reputation of doing
more work in a given time than any other
illnstre tor who draws.
How do you do so much work % asked
him.
IF sat in the house all of the time. /
couldn't do IL. Ones ideas are shortly used
up. travel a third or a half of my time.
can't work steadily more than two or
three months. must go somewhere and
see something new. Then when / see what
want, think it over. and kind Of get my
idea of what 1 am going to do and then
the rest Of it is nothing. I've made the
best things / ever did in two hours
1t is all in feeling IL. If / feel il, can
do il. If 1 don't feel il / work something
else till do feel it. You can't draw what
you don't know. After You see a thing you
your mind. and then dash il OFF That is
the way to do. But the trouble is in get
ting to feel it.
Il am thinking, absorbing. when travel,
YOU Know; observing everything, making
sketches, taking notes. But 1 don't finish
up anything, and try to have a good time
1t is the way get rested. When / work
work hard enough to rake up for it"
After We had talked a short time he re-
marked to me:
Come out of doors. 1 can't stand It in
here. / must get out 1 never could live in
town in the world. 1t would kill me Il
like 10 go to town and enjoy myself but in
the city 1 couldn't keep horses couldn't
ride, couldn't get fresh air. l have to get
out in the country"
So We walked up and down the piazza
though II was pretty chilly December
day. for the next half hour. while he pro-
pounded TO me his ideas of art.
People have talked about my using Muy-
bridge. and photographs. I've said ali ]
want TO say about that already, but never
saw Muybridge's pictures, though l made
photographs times enough myself. But I've
offered man who wonders il horses can
go as L draw them, to bet him s. 1 can take
him out and show him a horse and he will
see for himself. Why, not one man in ten
has ever carefully observed a horse in his
life, and yet such as these are most free TO
ass comment. If they had observed horses
little they would feel how they 60 and II
you don't feel it, you never can draw them
because cameras don't feel and CONSEQUENT
ly do not produce action.
DO you use models much?' I asked
mo, not much. / make my sketches
from life, and when 1 have arranged my
figures have to have a model a little for
the drapery. l will pull a coat back with
a string and safety pin to see how IL
would look blowing in the wind These
wrinkles at the elbow in a coat are hard 10
draw. 1 have to get those things from a
model But for the rest except in nudes
L draw mostly from my sketches For nudes
you have to have models. of course. The
the world to draw"
What? do you use your n an mostly out
here for a model?"
Yes, for little things. There used TO he
an old Indian around here who posed for
US. Now there is a man from that English
militery tournament who does it,
How do you like to draw best pen and
ink, wash, color?'
Il Ike a wash drawing you can produce
by process easily about as well as anything
L was one that got them to take up that
process work more extensively. They
tnousht IL was cheap work. but in my line
you get the best effects in that u-ay
guess haven't done pen and ink for two
years l don't like that very we'll In nv
style OF work you don't get scope enough
with that, you can't get effects
when L was over in Europe I did ,ba
German army and am enthusiastic in my
admiration for it The uniforms of the t;sr