Frederic Remington - Documenting the American West Frederic Remington - Painting the Old West Frederic Remington (1861–1909) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (11) Essay Through his paintings, illustrations, sculptures, and writings, Frederic Sackrider Remington earned esteem as a chronicler par excellence of the old American West . He was born in upstate New York, in Canton, and in 1872 moved with his family to nearby Ogdensburg. Beginning in autumn 1875, Remington attended Highland Military Academy in Worcester, Massachusetts, a tenure that was followed by his enrollment, in September 1878, at Yale University. While at Yale, Remington pursued his passion for football and began his art studies, studying drawing with John Henry Niemeyer at the School of Fine Arts. This, and a three-month stint in painting and sketching classes at the Art Students League in New York in spring 1886, constituted his only formal art training.

He left Yale after three semesters, following his father’s death in 1880 (he received an honorary degree from Yale in 1900). Remington then worked as a clerk for state agencies in Albany. Remington’s career-long interest in the American West began to take direction when in summer 1881 he traveled to Montana Territory. Two years later, he bought a quarter share in a sheep ranch in Kansas, yet his involvement in farming and commercial pursuits in Kansas and Missouri met with little financial success. Following his marriage to Eva Caten in October 1884, he established a studio in Kansas City, Missouri. Remington’s first published sketch—of a Wyoming cowboy—appeared in the February 25, 1882, issue of Harper’s Weekly. In 1885, following travels throughout the Southwest, he returned to New York, settling in Brooklyn, and rose to prominence with black-and-white illustrations that proclaimed his artistic ability and his talent as a raconteur of frontier life.

Between 1885 and 1913, Remington’s drawings were published in forty-one periodicals, including Century Magazine, Collier’s, and above all, Harper’s Weekly, the eminent pictorial magazine. He also illustrated books by such notable authors as Henry Wadsworth Longfellow ( 62.241.3 ), Owen Wister ( 66.734 ), Francis Parkman, and Theodore Roosevelt , with whom he shared a lasting friendship. Remington also wrote and illustrated his own books and articles based on his experiences in the West. He served as a war correspondent for the New York Journal in Cuba during the Spanish-American War. Much of Remington’s early writing was reportorial; he later produced short stories, eight anthologies of previously published magazine articles ( 62.241.2 ), and two novels. Remington traveled frequently on sketching trips to the American West; his experiences with and observations of Native Americans, cavalrymen, scouts, and cowboys served as ongoing creative fodder for an endless stream of commissions for illustrations. While there, he also took photographs to use as reference tools for his finished studio works.

Remington aspired most of all to recognition as a painter and began exhibiting paintings at the National Academy of Design in 1887. Four years later, in 1891, he was elected an associate member. His few surviving paintings from this period reflect an attention to dramatic narrative and anecdotal detail as in the case of A Dash for the Timber (1889; Amon Carter Museum of American Art, Fort Worth). Stylistically, his early paintings—with their tight handling and strong lighting—reflect indebtedness to French academic painters such as Jean Louis Ernest Meissonier and Édouard Detaille. Remington also took up watercolor painting at this time, displaying works at the American Water-Color Society. His subject matter offered a nostalgic, even mythic, look at a rapidly disappearing western frontier, which underwent dramatic transformation in the face of transcontinental transportation, Indian confinement to reservation land, immigration, and industrialization . As Theodore Roosevelt observed of Remington in Pearson’s Magazine in 1907: “He is, of course, one of the most typical American artists we have ever had, and he has portrayed a most characteristic and yet vanishing type of American life .

The soldier, the cowboy and rancher, the Indian, the horses and the cattle of the plains, will live in his pictures and bronzes, I verily believe, for all time.” Remington relocated his studio to New Rochelle, New York, in 1890, where he remained until nearly the end of his career. In 1900, he purchased a small island, Ingleneuk, in Chippewa Bay on the Saint Lawrence River, where he spent summers. Remington’s career took an unexpected turn when he learned the basics of clay modeling from the sculptor Frederick W. Ruckstull. Remington’s Broncho Buster ( 1986.81.2 ; 39.65.45 ), copyrighted in 1895, was an instant success, admired for its moment-in-time rendering of a cowboy astride a bucking horse. More than 275 authorized bronze casts were produced by New York foundries, first by the sand-casting method at Henry-Bonnard Bronze Company, and, beginning in 1900, by lost-wax casting at Roman Bronze Works.

Remington went on to model twenty-one sculpture groups, almost all of western subjects. Some were inspired by motifs developed in his paintings and illustrations; others were innovative and complex multifigure compositions ( 07.77 ). His talent for sculpture was matched by his technical derring-do (notably textural detail and innovative patination) and predilection for storytelling detail, resulting in some of the finest American small bronzes of the time. Unlike most of his fellow sculptors, Remington rarely worked on a monumental scale . His only extant full-size sculpture is The Cowboy (1905–8; Fairmount Park, Philadelphia). Remington was a skillful marketer of his art throughout his career, reflected by his ongoing commercial success and public appreciation. He exhibited his work consistently. The American Art Association in New York held exhibitions and sales of his paintings and black-and-white illustrations in 1893 and 1895; the Noe Galleries held exhibitions in 1905 and 1906. Remington’s statuettes and paintings were displayed for sale at prominent New York showrooms such as Tiffany & Company and M. Knoedler, the latter which held several solo exhibitions.

Remington earned institutional approbation as well: both the Corcoran Gallery of Art, in 1905, and the Metropolitan Museum, in 1907, purchased his bronze statuettes ( 07.77 ; 07.79 ; 07.80 ). In the last years of his life, Remington worked at a prodigious pace. In addition to modeling his sculptures and managing their casting, he continued his illustration work. In 1903, he negotiated an exclusive contract with the pictorial magazine Collier’s for a double-page spread or cover illustration of at least one painting monthly. After the turn of the century, his painting style transformed to reflect the impact of an impressionist palette and sketchier brushwork. A series of nocturnal scenes of western subjects epitomizes his shift in emphasis from detailed narrative to atmospheric mood. Other late oils, such as On the Southern Plains ( 11.192 ), demonstrate a bravura handling of paint that complements the spirited movement of horses and soldiers across dusty terrain.

In 1909, the artist moved from New Rochelle to Ridgefield, Connecticut, which he learned of through his former Art Students League teacher and American Impressionist painter Julian Alden Weir. Remington died in 1909, at age forty-eight, from complications following an appendectomy. The Frederic Remington Art Museum, which houses paintings, illustrations, sculpture, and memorabilia, is located in Ogdensburg, New York. Thayer Tolles The American Wing, The Metropolitan Museum of Art June 2010 Citation Tolles, Thayer. “Frederic Remington (1861–1909).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (June 2010) Further Reading Greenbaum, Michael D. Icons of the West: Frederic Remington's Sculpture. Ogdensburg, N.Y.: Frederic Remington Art Museum, 1996. Hassrick, Peter H., and Melissa J. Webster. Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings.

Cody, Wyo.: Buffalo Bill Historical Center in association with University of Washington Press, 1996. Nemerov, Alexander. Frederick Remington and Turn-of-the-Century America. New Haven: Yale University Press, 1995. Shapiro, Michael Edward, and Peter H. Hassrick. Frederic Remington: The Masterworks. New York: Abrams, 1988. Tolles, Thayer, and Thomas Brent Smith. The American West in Bronze. New York: Metropolitan Museum of Art, 2013. See on MetPublications Tolles, Thayer, ed. American Sculpture in The Metropolitan Museum of Art. 2 vols. New York: Metropolitan Museum of Art, 1999–2000. See on MetPublications Additional Essays by Thayer Tolles Frederick Sackrider Remington (1861 - 1909) - Genealogy Frederick Sackrider Remington Canton, St.

Lawrence County, New York, United States Death: in Ridgefield, Fairfield County, Connecticut, United States Immediate Family: Cause of death: Peritonitis - Dec 26 1909 - Ridgefield Wife: Oct 4 1861 - Canton, St. Lawrence Co., New York Death: Oct 4 1861 - Canton, NY Death: 1861 - Canton, St. Lawrence, NY Parents: Frederic Sackrider Remington (October 4, 1861 – December 26, 1909) was an American painter, illustrator, sculptor, and writer who specialized in depictions of the Old American West, specifically concentrating on the last quarter of the 19th century American West and images of cowboys, American Indians, and the U.S. Cavalry. Remington’s fame made him a favorite of the Western Army officers fighting the last Indian battles. He was invited out West to make their portraits in the field and to gain them national publicity through Remington’s articles and illustrations for Harper's Weekly, particularly General Nelson Miles, an Indian fighter who aspired to the presidency of the United States.

In turn, Remington got exclusive access to the soldiers and their stories and boosted his reputation with the reading public as “The Soldier Artist”. One of his 1889 paintings depicts eight cavalrymen shooting at Apaches in the rear as they attempt to outrun the Indians. Another painting that year depicts cavalrymen in an Arizona sandstorm. Remington wrote that the "heat was awful and the dust rose in clouds. Men get sulky and go into a comatose state -- the fine alkali dust penetrates everything but the canteens." Remington arrived on the scene just after the 1890 massacre at Wounded Knee, South Dakota, in which more than three hundred Sioux, mostly women and children, were slaughtered. He reported the event as "The Sioux Outbreak in South Dakota", having hailed the Army’s "heroic" actions toward the Indians. Some of the Miles paintings are monochromatic and have an almost “you-are-there” photographic quality, heightening the realism, as in The Parley (1898).

Early life Remington was born in Canton, New York in 1861 to Seth Pierre Remington[1] (1830–1880) and Clara Bascomb Sackrider,[2] whose paternal family owned hardware stores and emigrated from Alsace-Lorraine in the early 18th century.[3] Remington’s father was a colonel in the Civil War whose family arrived in the United States from England in 1637. He was a newspaper editor and postmaster, and the family was active in local politics and staunchly Republican. One of Remington’s great grandfathers, Samuel Bascom, was a saddle maker by trade, and the Remingtons were fine horsemen. Frederic Remington was related by family bloodlines to Indian portrait artist George Catlin[4] and cowboy sculptor Earl W. Bascom.[4] Colonel Remington was away at war during most of the first four years of his son’s life.

After the war, he moved his family to Bloomington, Illinois for a brief time and was appointed editor of the Bloomington Republican, but the family returned to Canton in 1867.[5] Remington was the only child of the marriage, and received constant attention and approval. He was an active child, large and strong for his age, who loved to hunt, swim, ride, and go camping. He was a poor student, though, particularly in math, which did not bode well for his father’s ambitions for his son to attend West Point. He began to make drawings and sketches of soldiers and cowboys at an early age. The family moved to Ogdensburg, New York when Remington was eleven and he attended Vermont Episcopal Institute, a church-run military school, where his father hoped discipline would rein in his son’s lack of focus, and perhaps lead to a military career. Remington took his first drawing lessons at the Institute. He then transferred to another military school where his classmates found the young Remington to be a pleasant fellow, a bit careless and lazy, good-humored, and generous of spirit, but definitely not soldier material.[6] He enjoyed making caricatures and silhouettes of his classmates.

At sixteen, he wrote to his uncle of his modest ambitions, “I never intend to do any great amount of labor. I have but one short life and do not aspire to wealth or fame in a degree which could only be obtained by an extraordinary effort on my part”.[7] He imagined a career for himself as a journalist, with art as a sideline. Remington attended the art school at Yale University, the only male in the freshman year. However, he found that football and boxing were more interesting than the formal art training, particularly drawing from casts and still life objects. He preferred action drawing and his first published illustration was a cartoon of a “bandaged football player” for the student newspaper Yale Courant.[8] Though he was not a star player, his participation on the strong Yale football team was a great source of pride for Remington and his family. He left Yale in 1879 to tend to his ailing father who had tuberculosis. His father died a year later, at age forty-six, receiving respectful recognition from the citizens of Ogdensburg. Remington’s Uncle Mart secured a good paying clerical job for his nephew in Albany, New York and Remington would return home on weekends to see his girlfriend Eva Caten.

After the rejection of his engagement proposal to Eva by her father, Remington became a reporter for his Uncle Mart’s newspaper, then went on to other short-lived jobs. Living off his inheritance and modest work income, Remington refused to go back to art school and instead spent time camping and enjoying himself. At nineteen, he made his first trip west, going to Montana, at first to buy a cattle operation then a mining interest but realized he did not have sufficient capital for either. In the Ol’ West of 1881, he saw the vast prairies, the quickly shrinking buffalo herds, the still unfenced cattle, and the last major confrontations of U.S. Cavalry and native American tribes, scenes he had imagined since his childhood. He also hunted grizzly bears with Montague Stevens in New Mexico in 1895 .[9] Though the trip was undertaken as a lark, it gave Remington a more authentic view of the West than some of the later artists and writers who followed in his footsteps, such as N. C. Wyeth and Zane Grey, who arrived twenty-five years later when the Ol’ West had slipped into history.

From that first trip, Harper's Weekly published Remington’s first published commercial effort, a re-drawing of a quick sketch on wrapping paper that he had mailed back East. In 1883, Remington went to rural Peabody, Kansas, to try his hand at the booming sheep ranching and wool trade, as one of the “holiday stockmen”, rich young Easterners out to make a quick killing as ranch owners. He invested his entire inheritance but Remington found ranching to be a rough, boring, isolated occupation which deprived him of the finer things of Eastern life, and the real ranchers thought of him as lazy.[14] Remington continued sketching but at this point his results were still cartoonish and amateur. After less than a year, he sold his ranch and went home. After acquiring more capital from his mother, he returned to Kansas City to start a hardware business, but due to an alleged swindle, it failed, and he reinvested his remaining money as a silent, half-owner of a saloon. He went home to marry Eva Caten in 1884 and they returned to Kansas City immediately.

She was unhappy with his saloon life and was unimpressed by the sketches of saloon inhabitants that Remington regularly showed her. When his real occupation became known, she left him and returned to Ogdensburg.[15] With his wife gone and with business doing badly, Remington started to sketch and paint in earnest, and bartered his sketches for essentials. He soon had enough success selling his paintings to locals to see art as a real profession. Remington returned home again, his inheritance gone but his faith in his new career secured, reunited with his wife and moved to Brooklyn. He began studies at the Art Students League of New York and significantly bolstered his fresh though still rough technique. His timing was excellent as newspaper interest in the dying West was escalating. He submitted illustrations, sketches, and other works for publication with Western themes to Collier's and Harper's Weekly, as his recent Western experiences (highly exaggerated) and his hearty, breezy “cowboy” demeanor gained him credibility with the eastern publishers looking for authenticity.[16] His first full page cover under his own name appeared in Harper's Weekly on January 9, 1886, when he was twenty-five.

With financial backing from his Uncle Bill, Remington was able to pursue his art career and support his wife. Early career In 1886, Remington was sent to Arizona by Harper's Weekly on a commission as an artist-correspondent to cover the government’s war against Geronimo. Although he never caught up with Geronimo, Remington did acquire many authentic artifacts to be used later as props, and made many photos and sketches valuable for later paintings. He also made notes on the true colors of the West, such as “shadows of horses should be a cool carmine & Blue”, to supplement the black and white photos. Ironically, art critics later criticized his palette as “primitive and unnatural” even though it was based on actual observation.[17] After returning back East, Remington was sent by Harper's Weekly to cover the Charleston, South Carolina earthquake of 1886. To expand his commission work, he also began doing drawings for Outing magazine.

His first year as a commercial artist had been successful, earning Remington $1,200, almost triple that of a typical teacher.[18] He had found his life’s work and bragged to a friend, “That’s a pretty good break for an ex cow-puncher to come to New York with $30 and catch on it ‘art’." [19] For commercial reproduction in black-and-white, he produced ink and wash drawings. As he added watercolor, he began to sell his work in art exhibitions. His works were selling well but garnered no prizes, as the competition was strong and masters like Winslow Homer and Eastman Johnson were considered his superiors. A trip to Canada in 1887, produced illustrations of the Blackfoot, the Crow Nation, and the Canadian Mounties, eagerly enjoyed by the reading public.

Later that year, Remington received a commission to do eighty-three illustrations for a book by Theodore Roosevelt, Ranch Life and the Hunting Trail, to be serialized in The Century Magazine before publication.[20] The twenty-five year old Roosevelt had a similar Western adventure to Remington, losing money on a ranch in North Dakota the previous year but gaining experience which made him an “expert” on the West. The assignment gave Remington’s career a big boost and forged a lifelong connection with Roosevelt. His full-color oil painting Return of the Blackfoot War Party was exhibited at the National Academy of Design and the New York Herald commented that Remington would “one day be listed among our great American painters”. Though not admired by all critics, Remington’s work was deemed “distinctive” and “modern”. By now, he was demonstrating the ability to handle complex compositions with ease, as in Mule Train Crossing the Sierras (1888), and to show action from all points of view His status as the new trendsetter in Western art was solidified in 1889 when he won a second-class medal at the Paris Exposition.

He had been selected by the American committee to represent American painting, over Albert Bierstadt whose majestic, large-scale landscapes peopled with tiny figures of pioneers and Indians was now considered passé. Around this time, Remington made a gentleman’s agreement with Harper's Weekly, giving the magazine an informal first option on his output but maintaining Remington’s independence to sell elsewhere if desired. As a bonus, the magazine launched a massive promotional campaign for Remington, stating that “He draws what he knows, and he knows what he draws.” Though laced with blatant puffery (common for the time) claiming that Remington was a bona fide cowboy and Indian scout, the effect of the campaign was to raise Remington to the equal of the era’s top illustrators, Howard Pyle and Charles Dana Gibson.[22] His first one-man show, in 1890, presented twenty-one paintings at the American Art Galleries and was very well received. With success all but assured, Remington became established in society. His personality, his “pseudo-cowboy” speaking manner, and “Wild West” reputation were strong social attractions.

His biography falsely promoted some of the myths he encouraged about his Western experiences.[23] Remington’s regular attendance at celebrity banquets and stag dinners, however, though helpful to his career, fostered prodigious eating and drinking which caused his girth to expand alarmingly. Obesity became a constant problem for him from then on. Among his urban friends and fellow artists, he was “a man among men, a deuce of a good fellow” but notable because he (facetiously) “never drew but two women in his life, and they were failures” (not counting Indian women).[24] In 1890, Remington and his wife moved to New Rochelle, New York in order to have both more living space and extensive studio facilities, and also with the hope of gaining more exercise. The community was close to New York City affording easy access to the publishing houses and galleries necessary for the artist, and also rural enough to provide him with the space he needed for horseback riding, and other physical activities that relieved the long hours of concentration required by his work.

Moreover, an artists' colony had developed in the town, so that the Remington’s counted among their neighbor’s writers, actors, and artists such as Francis Wilson, Julian Hawthorne, Edward Kemble, and Augustus Thomas. The Remington’s substantial Gothic revival house was situated at 301 Webster Avenue, on a prestigious promontory known as “Lathers Hill”. A sweeping lawn rolled south toward Long Island Sound, providing views on three sides of the beautiful Westchester County countryside. Remington called it “Endion”, an Ojibwa word meaning "the place where I live."[25] In the early years, no real studio existed at "Endion" and Remington did most of his work in a large attic under the homes front gable where he stored materials collected on his many western excursions. Later he used his library on the main floor, a larger, more comfortable room that soon took on the cluttered appearance of an atelier. However, neither situation was completely satisfactory: the space was limited, the light was less than adequate, and the surroundings were generally uninspiring. In the spring of 1896 Remington retained the New Rochelle architect O.

William Degen to plan a studio addition to the house. An article in the New Rochelle Pioneer of April 26 touted the "fine architectural design" of the studio. Remington himself wrote to his friend the novelist Owen Wister [26]: Have concluded to build a butler's pantry and a studio (Czar size) on my house—we will be torn [up] for a month and then will ask you to come over—throw your eye on the march of improvement and say this is a great thing for American art. The fireplace is going to be like this.—Old Norman house—Big—big. Mature career Remington’s fame made him a favorite of the Western Army officers fighting the last Indian battles. He was invited out West to make their portraits in the field and to gain them national publicity through Remington’s articles and illustrations for Harper's Weekly, particularly General Nelson Miles, an Indian fighter who aspired to the presidency of the United States. In turn, Remington got exclusive access to the soldiers and their stories and boosted his reputation with the reading public as “The Soldier Artist”. One of his 1889 paintings depicts eight cavalrymen shooting at Apaches in the rear as they attempt to outrun the Indians.

Another painting that year depicts cavalrymen in an Arizona sandstorm. Remington wrote that the "heat was awful and the dust rose in clouds. Men get sulky and go into a comatose state -- the fine alkali dust penetrates everything but the canteens." Remington arrived on the scene just after the 1890 massacre at Wounded Knee, South Dakota, in which more than three hundred Sioux, mostly women and children, were slaughtered. He reported the event as "The Sioux Outbreak in South Dakota", having hailed the Army’s "heroic" actions toward the Indians. Some of the Miles paintings are monochromatic and have an almost “you-are-there” photographic quality, heightening the realism, as in The Parley (1898). Remington’s Self-Portrait on a Horse (1890) shows the artist as he wished he was, not the pot-bellied Easterner weighing heavily on a horse, but a tough, lean cowboy heading for adventure with his trusty steed. It was the image his publishers worked hard to maintain as well.

In His Last Stand (1890), a cornered bear in the middle of a prairie is brought down by dogs and riflemen, which may have been a symbolized treatment of the dying Indians he had witnessed. Remington’s attitude toward Native Americans was typical for the time. He thought them unfathomable, fearless, superstitious, ignorant, and pitiless—and generally portrayed them as such. White men under attack were brave and noble. Through the 1890s, Remington took frequent trips around the U.S., Mexico, and abroad to gather ideas for articles and illustrations, but his military and cowboy subjects always sold the best, even as the Old West was playing out. In 1892, he painted "A Cavalryman's Breakfast on the Plains". Gradually, he transitioned from the premiere chronicler-artist of the Old West to its most important historian-artist. He formed an effective partnership with Owen Wister, who became the leading writer of Western stories at the time. Having more confidence of his craft, Remington wrote, “ My drawing is done entirely from memory. I never use a camera now. The interesting never occurs in nature as a whole, but in pieces.

It’s more what I leave out than what I add.” Remington’s focus continued on outdoor action and he rarely depicted scenes in gambling and dance halls typically seen in Western movies. He avoids frontier women as well. His painting A Misdeal (1897) is a rare instance of indoor cowboy violence. Remington’s had developed a sculptor’s 360 degree sense of vision but until a chance remark by playwright Augustus Thomas in 1895, Remington had not yet conceived of himself as a sculptor and thought of it as a separate art for which he had no training or aptitude.[31] With help from friend and sculptor Frederick Ruckstuhl, Remington constructed his first armature and clay model, a “broncho buster” where the horse is reared on its hind legs—technically a very challenging subject. After several months, the novice sculptor overcame the difficulties and had a plaster cast made, then bronze copies, which were sold at Tiffany’s.

Remington was ecstatic about his new line of work, and though critical response was mixed, some labelling it negatively as “illustrated sculpture”, it was a successful first effort earning him $6,000 over three years.[32] During that busy year, Remington became further immersed in military matters, inventing a new type of ammunition carrier; but his patented invention was not accepted for use by the War Department. His favorite subject for magazine illustration was now military scenes, though he admitted, “Cowboys are cash with me”. Sensing the political mood of that time, he was looking forward to a military conflict which would provide the opportunity to be a heroic war correspondent, giving me both new subject matter and the excitement of battle. He was growing bored with routine illustration, and he wrote to Howard Pyle, the dean of American illustrators, that he had “done nothing but potboil of late”.[35] (Earlier, he and Pyle in a gesture of mutual respect had exchanged paintings—Pyle’s painting of a dead pirate for Remington’s of a rough and ready cowpuncher).

He was still working very hard, spending seven days a week in his studio.[34] Remington was further irritated by the lack of his acceptance to regular membership by the Academy, likely because of his image as a popular, cocky, and ostentatious artist.[34] Remington kept up his contact with celebrities and politicos, and continued to woo Theodore Roosevelt, now the New York City Police Commissioner, by sending him complimentary editions of new works. Despite Roosevelt’s great admiration for Remington, he never purchased a Remington painting or drawing.[36] Remington’s association with Roosevelt paid off, however, when the artist became a war correspondent and illustrator during the Spanish-American War in 1898, sent to provide illustrations for William Randolph Hearst’s New York Journal. He witnessed the assault on San Juan Hill by American forces, including those led by Roosevelt. However, his heroic conception of war, based in part on his father’s Civil War experiences, were shattered by the actual horror of jungle fighting and the deprivations he faced in camp.

His reports and illustrations upon his return focused not on heroic generals but on the troops, as in his Scream of the Shrapnel (1899), which depicts a deadly ambush on American troops by an unseen enemy.[37] When the Rough Riders returned to the U.S., they presented their courageous leader Roosevelt with Remington’s bronze statuette, The Broncho Buster, which the artist proclaimed, “the greatest compliment I ever had…After this everything will be mere fuss.” Roosevelt responded, “There could have been no more appropriate gift from such a regiment.”[38] In 1888, he achieved the public honor of having two paintings used for reproduction on U. S. Postal stamps. In 1900, as an economy move, Harper’s dropped Remington as their star artist. To compensate for the loss of work, Remington wrote and illustrated a full-length novel, The Way of an Indian, which was intended for serialization by a Hearst publication but not published until five years later in Cosmopolitan.

Remington’s protagonist, a Cheyenne named Fire Eater, is a prototype Native American as viewed by Remington and many of his time.[39] Remington then returned to sculpture, and produced his first works produced by the lost wax method, a higher quality process than the earlier sand casting method he had employed.[40] By 1901, Collier's was buying Remington’s illustrations on a steady basis. As his style matured, Remington portrayed his subjects in every light of day. His nocturnal paintings, very popular in his late life, such as A Taint on the Wind and Scare in the Pack Train, are more impressionistic and loosely painted, and focus on the unseen threat. Remington completed another novel in 1902, John Ermine of the Yellowstone, a modest success but a definite disappointment as it was completely overshadowed by the best seller The Virginian, written by his sometime collaborator Owen Wister, which became a classic Western novel. A stage play based on “John Ermine” failed in 1904.

After “John Ermine”, Remington decided he would soon quit writing and illustration (after drawing over 2700 illustrations) to focus on sculpture and painting.[41] In 1903, Remington painted His First Lesson set on an American-owned ranch in Chihuahua, Mexico. The hands wear heavy chaps, starched white shirts, and slouch-brimmed hats.[27] In his paintings, Remington sought to let his audience "take away something to think about -- to imagine."[27] In 1905, Remington had a major publicity coup when Collier's devoted an entire issue to the artist, showcasing his latest works. His large outdoor sculpture of a “Big Cowboy”, which stands on the Kelly Drive in Philadelphia, was another late success. His “Explorers” series, depicting older historical events in western U.S. history, did not fair well with the public or the critics. The financial panic of 1907 caused a slow down in his sales and in 1908, fantasy artists, such as Maxfield Parrish, became popular with the public and with commercial sponsors.

Remington tried to sell his home in New Rochelle to get further away from urbanization. One night he made a bonfire in his yard and burned dozens of his oil paintings which had been used for magazine illustration (worth millions of dollars today), making an emphatic statement that he was done with illustration forever. He wrote, “there is nothing left but my landscape studies”. Near the end of his life, he moved to Ridgefield, Connecticut. In his final two years, under the influence of The Ten, he was veering more heavily to Impressionism, and he regretted that he was studio bound (by virtue of his declining health) and could not follow his peers who painted “plein air”. Frederic Remington died after an emergency appendectomy led to peritonitis on December 26, 1909. His extreme obesity (weight nearly 300 pounds) had complicated the anesthesia and the surgery, and chronic appendicitis was cited in the post-mortem examination as an underlying factor in his death. He was buried in Evergreen Cemetery, Canton, New York. The Frederick Remington House was declared a National Historic Landmark in 1965.

He was the great-uncle of the artist Deborah Remington.[48] In 2009, the United States Congress enacted legislation renaming the historic Post Office in Ogdensburg, New York the Frederic Remington Post Office Building. Style and influence Remington was the most successful Western illustrator in the “Golden Age” of illustration at the end of the 19th Century and the beginning of the 20th Century, so much so that the other Western artists such as Charles Russell and Charles Schreyvogel were known during Remington’s life as members of the “School of Remington”.[50] His style was naturalistic, sometimes impressionistic, and usually veered away from the ethnographic realism of earlier Western artists such as George Catlin. His focus was firmly on the people and animals of the West, with landscape usually of secondary importance, unlike the members and descendants of the Hudson River School, such as Frederic Edwin Church, Albert Bierstadt, and Thomas Moran, who glorified the vastness of the West and the dominance of nature over man. He took artistic liberties in his depictions of human action, and for the sake of his readers’ and publishers’ interest.

Though always confident in his subject matter, Remington was less sure about his colors, and critics often harped on his palette, but his lack of confidence drove him to experiment and produce a great variety of effects, some very true to nature and some imagined. His collaboration with Owen Wister on The Evolution of the Cowpuncher, published by Harper’s Monthly in September 1893, was the first statement of the mythical cowboy in American literature, spawning the entire genre of Western fiction, films, and theater that followed.

Remington provided the concept of the project, its factual content, and its illustrations and Wister supplied the stories, sometimes altering Remington’s ideas.[51] (Remington’s prototype cowboys were Mexican rancheros but Wister made the American cowboys descendants of Saxons—in truth, they were both partially right, as the first American cowboys were both the ranchers who tended the cattle and horses of the American Revolutionary army on Long Island and the Mexicans who ranched in the Arizona and California territories).[52] Remington was one of the first American artists to illustrate the true gait of the horse in motion (along with Thomas Eakins), as validated by the famous sequential photographs of Eadweard Muybridge.[53] Previously, horses in full gallop were usually depicted with all four legs pointing out, like “hobby horses”. The galloping horse became Remington’s signature subject, copied and interpreted by many Western artists who followed him, adopting the correct anatomical motion. Though criticized by some for his use of photography, Remington often created depictions that slightly exaggerated natural motion to satisfy the eye. He wrote, “the artist must know more than the camera...

(the horse must be) incorrectly drawn from the photographic standpoint (to achieve the desired effect).” Also, noteworthy was Remington’s invention of “cowboy” sculpture. From his inaugural piece, The Broncho Buster (1895), he created an art form which is still very popular among collectors of Western art. An early advocate of the photoengraving process over wood engraving for magazine reproduction of illustrative art, Remington became an accepted expert in reproduction methods, which helped gain him strong working relationships with editors and printers.[55] Furthermore, Remington’s skill as a businessman was equal to his artistry, unlike many other artists who relied on their spouses or business agents or no one at all to run their financial affairs. He was an effective publicist and promoter of his art. He insisted that his originals be handled carefully and returned to him in pristine condition (without editor’s marks) so he could sell them. He carefully regulated his output to maximize his income and kept detailed notes about his works and his sales. In 1991 the PBS series American Masters filmed a documentary of Remington's life called Frederic Remington: The Truth of Other Days produced and directed by Tom Neff.

Remington was portrayed by Nick Chinlund in the TNT miniseries Rough Riders (1997), which depicts the Spanish-American War, showing Remington's time as a war correspondent and his partnership with William Randolph Hearst (portrayed by George Hamilton). WorldFest-Houston International Film Festival's main prize "The Remi Award" is named in Remington's honour.

1000+ images about Art by FREDERIC REMINGTON on Pinterest | The cowboy, Packers and Indian Pinterest • The world’s catalog of ideas Art by FREDERIC REMINGTON (October 4, 1861-December 26, 1909) "Remington was an American painter, illustrator, sculpture, and writer who specialized in depictions of the Old American West specifically in images of cowboys, American Indians, and the US Calvary." 146 Pins404 Followers Frederic Sackrider Remington (1861 - 1909) Biography - Native American Art - AAA Native Arts Frederic Sackrider Remington (1861 - 1909) Biography - Native American Art We have 1995 guests and no members online If you purchase something from a link on our website, we may receive a small commission. However, you will pay the same as you would if you went to the advertiser's website directly. Quick Facts The mild climate of the lower Mississippi required little clothing. Acolapissa men limited themselves pretty much to a breechcloth, women a short skirt, and children ran nude until puberty.

With so little clothing with which to adorn themselves, the Acolapissa were fond of decorating their entire bodies with tattoos. In cold weather a buffalo robe or feathered cloak was added for warmth. Today's Mailbag Hi Folks ! Where can i Find a war tomahawk? I guess the Indians didn't fight with a Tomahawk, which is at the same time a peacepipe. The hole throughout the shaft for smoke,would make the Tomahawk weak. The back of the blade (Tomahawk) must have been a sharp peak or dull, to crush human head. Have you a good picture for a Tattoo? I need one as well as an origanal picture of a Peace pipe. I know the end of a pipe was make of a special stone. What is the name of it? I would be very happy if you can find anybody to send a few pictures of these two things.

~Submitted by Micky From Stockholm, Sweden Frederic Sackrider Remington (1861 - 1909) Biography Frederic Sackrider Remington (1861 - 1909) Biography Details Hits: 4197 Keywords: Frederic Remington biography frederic remington profile frederick remington old west artist wild west artist profile western bronze sculptor famous native american artist native american art western landscapes equestrian sculptor sculptures buy western art indian art free pictures indian picture frederic remington calendar frederic remington books frederic remington poster Frederic Sackrider Remington was born on October 1, 1861, in Canton, New York. From a very young age, Remington showed artistic inclinations. Buy Posters and Prints at AllPosters.com! His school notebooks were full of sketches, often depicting Old West characters and equestrian figures. Remington's fondness for horses also materialized at an early age. As a boy, Remington was an accomplished rider, a skill imparted by his father who had been a cavalry officer during the Civil War.

In 1872, the Remington family moved to Ogdensburg, New York, where young Remington was enrolled in a military academy at the age of fifteen. The young Remington's fervent desire to become an artist convinced his parents to let him take art classes at Yale University in 1878. Frederic Remington was one of the first two students to enter the Yale University Art School. After an initial period of enthusiasm, Remington soon became discouraged with the tedious routine of academic art instruction and turned his interest to athletics, becoming the Yale boxing champion and a member of the football team. After leaving Yale upon the death of his father, Frederic Remington worked briefly at several office jobs, but could not settle down. Remington's famed career as the quintessential Western artist, was launched by a marriage proposal. The father of the prospective bride refused to give his daughter's hand to a feckless, improper artist. Remington headed west, partly to forget and partly to show that he was a true artist of worth. Remington spent five years traveling in the West, working as a lumberjack, a cowboy and sheep rancher, prospecting for gold and fighting as a soldier against the renegade Sioux.

Buy Posters and Prints at AllPosters.com! During this time, Frederic Remington decided to commit himself to the artistic representation of the history, people and traditions of the "Old West." Remington studied and sketched the land around him with almost photographic eyes. His subjects were of prime importance, and his heroes were the everyday people of the frontier. He insisted on realism in every detail. Remington befriended anyone who could give him additional insight into his obsession. He talked to cowboys, saloon keepers, Indians, soldiers and settlers. Remington became a close friend of William F. "Buffalo Bill" Cody and was often invited to stay at his famous ranch. Remington was an observer of many historical events such as the battle at Wounded Knee. Not only did Remington record these events with pen, ink and paint, he wrote about them. Upon the death of his father in 1880, Remington at age 21 inherited $9,000 from his father's estate, which he used to buy a small ranch in Kansas and with several other men eventually purchased a saloon in Kansas City.

Even though he was cheated by his partners and lost considerable money, Remington had been selling some paintings and drawings of his own, and he felt confident enough of his eventual success to return to New York, where he married his beloved Eva. However, with his inheritance gone, Remington found it hard to make a living on the sale of his paintings alone and began to illustrate for Outing Magazine, Harper's Weekly, Youth's Companion and Century. His first accomplishment as a professional artist came in 1882, when one of his sketches was published in the February 25 issue of "Harper's Weekly". He began to get regular commissions and by 1887 was supporting himself well. That year, he produced several important easel works. He exhibited a painting at the American Water Color Society Show and another at the National Academy of Design Exhibition. The Century articles were written by Theodore Roosevelt, and the collaboration was eventually published in book form. Immensely popular, the book contained ninety-nine Remington drawings and greatly furthered his career.

Remington also illustrated Frances Parkman's novel, " Oregon Trail ." The following year, in 1888, he won two prestigious awards at the National Academy: The Hallgarten Prize and the Clark Prize. Remington had finally achieved full success in his field and he was deluged with commissions. By 1890, his stature and wealth allowed him to buy a mansion in New Rochelle, Connecticut, where he built a large studio and art gallery which he stocked with his collection of western artifacts. Remington called himself a historian by virtue of his collected magazine articles, illustrated by himself, and wrote two historical novels, John Ermine of the Yellowstone and the Way of an Indian . He also completed illustrations for his friend Owen Wister's Done in the Open. As an artist/journalist during the Spanish American War, Remington became a war correspondent to Cuba in 1898 where he witnessed the capture of San Juan Hill. Remington was always fascinated by the motion of horses and took many photos of them with the newly invented roll film box camera. Remington painted and sculpted the animals often, frequently at full gallop, but always juxtaposed them with human figures, never drawing single horse portraits.

The same was true of Remington's landscapes, which invariably had human activity in them. In 1895, he began working in bronze and cast his famous work, "The Bronco Buster." He became so enamored of sculpting that his painting quality deteriorated. His early paintings of the West were much more literal depictions than his romanticized later ones of the disappearing West. In his later years, he preferred to paint nocturnes because it allowed him greater freedom and depth of perspective. Because Remington is so associated with the American West, it may be surprising that he spent time with Augustus Saint-Gaudens and others in the artist colony in Cornish, New Hampshire. In 1909, at the height of his fame, Remington died of appendicitis at the age of forty-eight in Ridgefield, Connecticut. Remington's death did not diminish the popularity of his drawings, paintings and bronzes and in the years since, his works have been used to constantly illustrate the history of the American West.

Outlier the Frederic Sackrider Remington - Artist and Art Publications - Frederic Sackrider Remington Frederic Sackrider Remington (1861 - 1909) Frederic Sackrider Remington was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for western painting and sculpture, illustration.

The Artist 324 Miscellaneous Book References for Frederic Sackrider Remington Year Southwest Art History Conference Abstracts, 1996-2013 217 Return to the Heartland: Rediscovering George Van Millett 140 Wildlife in American Art: Masterworks from the National Museum of Wildlife Art 262 Gilbert-Smith, Alma; Lonnie Pierson Dunbier and Jo Evarts The Power of Place: Paintings That Define the American Image (Exhibition catalog) Bronze Inside and Out: A Biographical Memoir of Bob Scriver 368 Biographical Directory of Kansas Artists Active Before 1945 0 The Artists Bluebook 34,000 North American Artists to March 2005 479 Davenport's Art Reference: The Gold Edition 2421 Painting and Sculpture in the Collection of The National Academy of Design Volume One: 1826-1925 672 Frederic Remington: The Hogg Brothers Collection of the Museum of Fine Arts, Houston 146 Frederic Remington: The Color of Night 208 Window on the West: Chicago and the Art of the New

 Frontier, 1890-1940 (Exhibition catalog) Frederic Remington: The Color of Night (Exhibition catalog) Recounting the Old West II: Important Paintings, Sculpture and Works on Paper 71 Frederic Remington: Getting to Know the World's Greatest Artists 32 American Beauty: Paintings from Detroit Institute of Arts, 1770-1920 (Exhibition catalog) The Frederic Remington Art Museum Collection 264 Drawn to Yellowstone: Artists in America's First National Park 248 Phoenix Art Museum Collection Highlights 352 Editors, Art of the West Art of the West Guidebook of Western Artists 2001 Edition 88 Cornish Art of the Past Century: Art for Art's Sake 24 The Illustrator in America, 1860-2000 The Society of Illustrators 452 110 Years of American Art:1830-1940 (Spanierman Galleries, LLC) (Exhibition catalog) Brodell, James; Peter Occhiogrosso; Louis Zona (foreward) Gregory Perillo and the Masters of American Western

 Art 200 Early Art and Artists in West Virginia 301 A Place of Beauty: The Artists and Gardens of the Cornish Colony (Exhibition catalog) Remington, Russell and the Language of Western Art 0 Frederic Remington: The Hogg Brothers Collection 160 Powers, John & Deborah; Ron Tyler, Foreward Texas Painters, Sculptors & Graphic Artists A Biographical Dictionary of Artists in Texas Before 1942 606 Recounting the Old West: Gallery Selections-Thomas Nygard Gallery 44 Painters and the American West: The Anschutz Collection 218 Who Was Who in American Art, 1564-1975, Three Volumes 3724 The Cornish Colony: At the Dawn of the New Century 24 The Art Students League of New York A History (Students) 187 1999 Tolles, Thayer (Editor); Lauretta Dimmick, Donna J.

Hassler American Sculpture in the Metropolitan Museum of Art Volume One: A Catalogue of Works by Artists Born Before 1865 451 The Cornish Colony: One Hundred Year Celebration Exhibit (Exhibition catalog) Master Pieces The Art History of Jigsaw Puzzles 223 Whitney Gallery of American Art 78 American Visions The Epic History of Art in America 635 Red Book Price Guide-1997 Western American Art 128 Addison Gallery of American Art 65 Years A Selective Catalogue (Exhibition catalog) Accents on Artists A fact-filled pronunciation guide. Over 800 artist’s names you should know… 363 Colby, Virginia Reed; James B. Atkinson Footprints of the Past: Images of Cornish, New Hampshire 526 American Paintings Before 1945 in the Wadsworth Atheneum (2 Vols) 877 New Mexico Art History Conference Abstracts, 1986-1995 88 Watkins, T H/Joan P Watkins Western Art Masterpieces Adams, H. and Johnson, K.

Made in America Ten Centuries of American Art 192 Wild Impressions The Adirondacks on Paper 99 Covers of the Saturday Evening Post Seventy Years of Outstanding Illustration 298 The Art of the Horse 192 Frederic Remington & Turn of the Century America 244 American Art History and Culture 687 Neff, Emily/G T M Shackelford American Painters in the Age of Impressionism 144 Masters of American Sculpture: The Figurative Tradition From the American Renaissance to the Millenium 275 Prints of the West Prints from the Library of Congress 197 Picturing History: American Painting, 1770-1930 (Exhibition catalog) South of the Border Mexico in the American Imagination, 1914-1947 296 Master Index 1971-1993 Artists in Southwest Art 64 The Red Book Western American Price Index 126 Ward, Roger and Patricia J Fidler (Compilers and Editors) The Nelson-Atkins Museum of Art A Handbook of the Collection 414 American Drawings and Watercolors from the Kansas

 City Region (Exhibition catalog) American Art Paintings from the Amon Carter Museum 59 Meadows of Memory Images of Time & Tradition in American Art & Culture 192 A Nation's Pride Art in the White House 375 Prown, Jules; Nancy Anderson, William Cronon Discovered Lands Invented Pasts Transforming Visions of the American West 217 Painting Texas History to 1900 140 Stewart, Dr.

Rick; Don Hedgpeth The American West: John F.

Eulich Collection Legendary Artists of the Frontier (Exhibition catalog) Frederic Remington Masterpieces from the Amon Carter Museum 59 Modernism in Dispute Art Since the Forties 267 West West West Major Paintings from the Anschutz Collection 131 American Art A Catalogue/Los Angeles County 510 American Illustrator Art Official Price Guide 1991 Philbrook Museum of Art Handbook to the Collections 250 Santa Barbara Museum of Art America in Art Fifty Great Paintings Celebrating Fifty Years (Exhibition catalog) Masterpieces of Western American Art 239 The West as America Reinterpreting Images of Frontier (Exhibition catalog) Art of the Golden West 418 Rendezvous to Roundup: The First 100 Years of Wyoming Art (Exhibition catalog) Myth of the West (Exhibition Henry Art Gallery, Seattle) (Exhibition catalog) American Paintings and Sculpture Sterling & Francine Clark Institute 219 The Annual Exhibition Record of the Art Institute of Chicago (Exhibition catalog) Art Across America: The Far Midwest, Rocky Mountain West, Southwest, Pacific Volume Three 396 Goddard, Donald; Robert Rosenblum (Intro)

 American Painting 1990 Leavitt, Thomas (Intro); Richard Schwartz; Frank H.T.

Rhodes Cornell Collects: A Celebration of American Art from the Collections of Alumni and Friends, Cornell University (Exhibition catalog) Facing History The Black Image in American Art 1710-1940 (Exhibition catalog) Plimpton, George; J. Carter Brown Sport in Art From American Museums (Exhibition catalog) Techniques of the Artists of the American West 252 Paris 1889 American Artists at the Universal Exposition (Exhibition catalog) Annual Exhibition Record, 1876-1913, Pennsylvania Academy of the Fine Arts (Exhibition catalog) Native Americans Five Centuries of Changing Images 304 Fees, Paul; Sarah E Boehme Frontier America: Art From Buffalo Bill Historical Center 128 The West Explored The Gerald Peters Collection of Western American Art (Exhibition catalog) Frederic Remington and the North Country 272 Great Painters and Illustrators Of the Old West 232 Riehlman, Franklin; Glen C.

Peck The American Spirit: Paintings, Watercolors and Sculpture from 1817-1987 H V Allison Galleries (Exhibition catalog) Splete, Allen P and Marilyn Frederic Remington Selected Letters Encyclopedia of Frontier Biography Volume Three (P-Z) 597 Master Paintings in the Art Institute of Chicago 168 Collected Essays on 101 Art Works From the Permanent Collection, Wichita Art Musem 212 History of Western American Art 192 American Art Posters of the 1890s in The Metropolitan Museum of Art 199 The Lure of the West The Carl S Dentzel Collection of W American Art (Exhibition catalog) Viola, Herman J; William H. Goetzmann (Intro) Exploring the West America: Art and the West (Australian exhibition) (Exhibition catalog) Art in New Mexico, 1900-1945 Paths to Taos and Santa Fe 218 Goetzmann, William H; William N.

Goetzmann The West of the Imagination 457 American Paintings Selections from the Amon Carter Museum 128 Nineteenth Century American Painting Thyssen Bornemiszma Collection 326 Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers 1081 300 Years of American Art (two volumes) 1102 Adams, Henry; John Caldwell, John Lane et all American Drawings and Watercolors In The Museum of Art, Carnegie Institute (Exhibition catalog) Artists of the American West: Three Volumes A Biographical Dictionary 1184 Who Was Who in American Art: Artists Active Between 1898-1947 707 25th Anniversary Exhibition Selected American Paintings (Exhibition catalog) American Painting and Sculpture A Concise History 420 The American West The Modern Vision 345 Brushstrokes on the Plateau An Overview of Anglo Art on the Colorado Plateau 34 Sculpture in America (new and revised edition) 782 Kennedy Galleries Profiles of American Artists 288 Treasures of the Old West Thomas Gilcrease Institute 127 1

00 Years of Collecting in America The Story of Sotheby Park Bernet 240 Dictionary of American Sculptors: 18th Century to Present 656 The Illustrator in America, 1880-1980: A Century of Illustration 355 Paintings and Sculpture In the Permanent Collection 273 Masterpieces of the American West Selections from the Anschutz Collection 152 The Drawing of America Eyewitnesses to History 256 The New England Eye Master American Paintings/New England Collections (Exhibition catalog) Frontier Spirit: William Foxley Collection Museum of Western Art 200 Frederic Remington The Camera and the Old West 112 Un Nouveau Monde chefs-d'ouvre de la peinture americaine 1760-1910 (Exhibition catalog) Art of the American West 74 National Academy of Western Art The 3M Collection of Contemporary Western Art Eleventh Annual Exhibition (Exhibition catalog) The Gerald Peters Collection A Selection of Paintings 96 Stebbins, Theodore E; Pierre Rosenberg, H.

Barbara Weinberg (essays) A New World Masterpieces of American Painting 1760-1910 (Exhibition catalog) The Rocky Mountains Vision for Artists in the 19th Cen 418 The Popular West American Illustrators 1900-1940 (Exhibition catalog) Remington and Russell (plus 9 western painters) 188 Artists of the Old West 240 Hunt, David C; Marsha V. Gallagher Legacy of the West Treasury of American Pen-and-Ink Illustration 1881 to 1938 149 American Paintings at Yale University: An illustrated Checklist (Exhibition catalog) The West as Art Western Art in Calfornia Collections (Exhibition catalog) Painters of the American West Selections from the Anschutz Collection (Exhibition catalog) Treasures of the American West Harrison Eiteljorg Collection 172 Goetzmann, William H and Joseph C.

Porter; David Hunt (Biographies) The West as Romantic Horizon 128 The History of the Illustrated Book The Western Tradition 288 The Preston Morton Collection of American Art (Santa Barbara Museum of Art) (Exhibition catalog) Animals in American Art 1880's-1980's (Exhibition catalog) Of Time and Place American Figurative Art from the Corcoran Gallery (Exhibition catalog) The Britannica Encyclopedia of American Art 669 San Diego Museum of Art The Cowboy Western Masters: A Comprehensive Exhibition Petersen Galleries (Exhibition catalog) Burk, Dale; Vivian Paladin (Intro) A Brush With the West 135 American Paintings/Metropolitan Mus V 3, Artists Born Between1846-64 479 The Metropolitan Museum of Art 592 Beyond the Endless River W American Drawings, W/C-19th Cen (Exhibition catalog) Great Paintings of the Old American West Thomas Gilcrease Institute Collection 155 American Paintings/Brooklyn Museum Complete Illustrated Listing of Works 133 American Art Painting, Sculpture, Architecture, Decorative Arts 616 American Drawing A Guide to Information Sources

 246 Arts in America/A Bibliography Volume 1 (Sculpture, the West etc) 730 Arts in America/A Bibliography Volume 2 (Painting and Graphics) 736 The Treasures of Gilcrease (Tulsa OK) 106 R W Norton Art Gallery Frederic Remington (1861-1909) Paintings, Drawings and Sculpture (Exhibition catalog) Frederic Remington The Soldier Artist (Exhibition catalog) Museum of Fine Arts The American and European Collections 216 Strickler, Susan (Catalogue); William Hutton (Editor) The Toledo Museum of Art American Paintings 227 The Lure of the Great West 352 Schimmel, Julie; Gilbert Tapley Vincent Stark Museum of Art: The Western Collection 244 Spencer Museum of Art Handbook of the Collection 168 Frederic Remington and the West With the Eye of the Mind 294 The Bison in Art A Graphic Chronicle of the Ameican Bison (Exhibition catalog) American Art to 1900 Painting, Sculpture, Architecture 631 American Sculpture A Guide to Information Sources 260

 Harmsen, Dorothy; Bill Harmsen (Foreward) American Western Art: The Harmsen Collection 256 The Way West Art of Frontier America 240 Turn-of-the-Century America Paintings, Graphics, Photographs 1890-1910 (Exhibition catalog) Prown, Jules David; John Walker (Intro) American Painting From Its Beginnings to the Armory Show 133 American Painting From the Colonial Period to the Present 277 Recent Ideals of Americn Art 176 1977 Shepard, Lewis A; David Paley, Frank Trapp American Art at Amherst: A Summary Catalogue of the Collection At the Mead Art Gallery Amherst College (Exhibition catalog) 200 Years of American Sculpture (Exhibition catalog) Western Art of Frederic Remington 124 The Natural Paradise: Painting in America 1800-1950 The Museum of Modern Art, New York (Exhibition catalog) The Illustrated Biographical Encyclopedia of Artists of the American West 549 Representative Art and Artists of New Mexico (Exhibition catalog) American Master Drawings and Watercolors A History of

 Works on Paper 464 200 Jahre Amerikanische Malerei 1776-1976 (Exhibition catalog) The American West Selections/Kennedy Galleries (Exhibition catalog) The Saint Louis Art Museum Handbook of Collections 377 Fifty Great Western Illustrators A Bibliographic Checklist 456 Smithsonian Archives of American Art: Checklist of the Collection 0 Charles F Lummis The Man and His West 230 Fleischman, Lawrence A.(Intro); Lawrence Campbell (Foreward) The Art Students League of New York Anniversarly Exhibition 100 Artists, Kennedy Galleries (Exhibition catalog) The Heritage of American Art (Exhibition catalog) Print Reference Sources Bibliography 18th-20th Centuries 246 A Century and Half of American Art, 1825-1975 (Exhibition catalog) The U S A A History in Art 296 American Art in Upstate New York Drawings, Watercolors and Small Sculptures 80 Our Land, Our Sky, Our Water An Exhibition of American & Canadian Art (Exhibition catalog) Catalogue of American Paintings in British Public Collections 58

 The Art of America in the Gilded Age 49 The Art of Frederic Remington An Exhibition Honoring Harold McCracken (Exhibition catalog) Kuh, Katherine (Foreward); Gaylord Freeman (Intro) The Art Collection of the First National Bank of Chicago 274 The Indian and the Black Man The Image in American Art 189 The Renaisance of Western Art 144 A History of American Painting 240 A Collection of Western Art 57 Broder, Patricia Janis; Harold McCracken (Intro) Bronzes of the American West 429 The Artist's America American Heritage History of 416 Frederic Remington An Essay and Catalogue (Exhibition catalog) 1973 Hassrick, Peter H Frederic Remington: Paintings, Drawings and Sculpture in the Amon Carter Museum and Sid W.

Richardson Collections 218 Institute for the Arts, Rice U Gray is the Color Grisaille Painting 13th-20th Centuries (Exhibition catalog) Art in America A Brief History 216 A History of American Art 662 Exhibition Record 1861-1900, National Academy of Design (Two Volumes Set) (Exhibition catalog) Amon Carter Museum of Western Art Catalogue of the Collection 1972 600 The American West Painters from Catlin to Russell (Exhibition catalog) Biographical Sketches of American Artists 370 The Cowboy in American Prints 184 The Vincent Price Treasury of American Art 320 My Dear Wister Frederic Remington-Owen Wister Letters 343 Praeger Encyclopedia of Art (4 volumes) 2139 What Is American in American Art (Exhibition catalog) American Masters 18th to 20th Centuries (Exhibition catalog) The Art of the Old West From the Collection of the Gilcrease Institute 335 The West and Walter Bimson Paintings, Watercolors, Drawings and Sculpture 223 The American Scene 18

20-1900 An exhibition of landscape and outdoor genre (Exhibition catalog) 19th Century America Hundredth Anniversary/Metropolitan Museum (Exhibition catalog) Encyclopedia of Painting (Painters of the World...etc) 511 Art of the Western Scene 1880-194 (Exhibition catalog) American Painting From Its Beginnings to the Armory Show 145 O!

Say Can You See The Story of America through Great Paintings 189 The Arts in America The Nineteenth Century 412 Ainsworth, Ed; John Wayne (Foreward) The Cowboy in Art 101 Frederic Remington Drawings of the Old West 202 American Sports and Sportsmen Paintings of the Nineteenth and Twentieth Centuries (Exhibition catalog) The American Tradition in the Arts 492 Traveler's Guide to American Art 436 Master Works from the Collection Fine Arts Gallery of San Diego (Exhibition catalog) The Artist and the Sportsman (The National Art Museum of Sport) (Exhibition catalog) How the West Was Won Paintings, Watercolors, Bronzes (Exhibition catalog) Frederic Remington A Retrospective Exhibition of Painting and Sculpture (Exhibition catalog) Art and Life in America Revised and Enlarged Edition 559 American Paintings from the Metropolitan Museum of Art 143 The Frederic Remington Book A Pictorial History of the West 285 The Illustrator in America 1900-1960s 272 Goldman, Eric F.; Tracy Atkinson The Beauty of America in

 Great American Art (Country Beautiful Foundation) 162 American Drawings: Drawings of the Masters 141 Five Artists of the Old West 128 Frederic Remington's Own Outdoors Written/Illustrated by Frederic Remington 190 Read Mullan Gallery of Western Art (Exhibition catalog) Four Centuries of American Art (Exhibition catalog) The Frederic Remington Studio Collection (W R Coe Collection) (Exhibition catalog) Frederic Remington's Own West Written/Illustrated by Frederic Remington 254 Painter of the Wild West Frederic Remington 192 Three Hundred Years of American Painting 318 Arizona State College Collection American Art 108 Western Paintings A Distinguished Collection (of) 32 The Arizona State College Collection of American Art 110 History of the National Academy of Design, 1825-1953 296 Marion Koogler McNay Art Institute/Selective Catalogue 92 Frederic Remington Catalogue of the Memorial Collection 73 Westward the Way: Louisiana Territory as Seen by Artists and Writers 280 Artists and Illustrators- Old West 185

0-1900 400 Portrait of the Old West 216 Painting & Sculpture by 75 Artist Associated with The Art Students League (Exhibition catalog) 100 American Painters of the 20th Century 132 U S National Capital S C American Processional 1492-1900 (Sesquicentenial Commission) (Exhibition catalog) Frederic Remington Artist of the Old West 200 An Album of American Battle Art 1755-1918 319 Soby, James Thrall/D C Miller Romantic Painting in America Half a Century of American Art The Art Institute of Chicago (Exhibition catalog) Life in America Exhibition Paintings/New York World's Fair (Exhibition catalog) American Book Illustrators Bibliographic Checklist of 123 Artists 290 Virginia Museum of Fine Arts The Main Currents in the Development of American Art (Exhibition catalog) Index of Artists: International-Biographical Two Volumes: Includes 1940 Index 1130 Art in America In Modern Times (1865-1934) 110 A History of American Painting

 Revised Edition, Two Volumes in One 363 A Critical Introduction to American Painting 52 The History and Ideals of American Art 444 Panama-Pacific Exposition: Catalogue of the Post-Exposition Exhibit 112 Official Catalogue of Exhibitors Department B, Art (Exhibition catalog) 281 No The listed publications are derived from what askART has identified from our research for this artist and are intended as an additional tool for information.

askART has derived Publications as an aid to members, but it is not necessarily a complete list. Discover art and art prices ... Subscribers may find the following and more: Did it sell? Low/high estimate Size of work Signature Date created Research Frederic Sackrider Remington Consider a subscription! More info Featured by Subscribers may find the following and more: Did it sell? Low/high estimate Size of work Signature Date created Research Frederic Sackrider Remington Consider a subscription! More info Featured by Pretty Mother of the Night - White Otter is No Longer a Boy Subscribers may find the following and more: Did it sell? Low/high estimate Size of work Signature Date created Research Frederic Sackrider Remington Consider a subscription! More info An example of work by Frederic Sackrider Remington Art images copyright© of artist or assignee Subscribers may find the following and more: Did it sell? Low/high estimate Size of work Signature Date created Research Frederic Sackrider Remington Consider a subscription! More info THE WOUNDED BUNKIE Art images copyright© of artist or assignee Subscribers may find the following and more: Did it sell?

Low/high estimate Size of work Signature Date created Research Frederic Sackrider Remington 1000+ images about Frederic Remington on Pinterest | Scouts, The buffalo and Canvas prints Pinterest • The world’s catalog of ideas Frederic Remington American painter, illustrator, sculptor and writer who specialized in depicting the Old American West, specifically during the last quarter of the 19the century, with images of the Cowboy, the American Indian and the U. S. Cavalry. 1861-1909 53 Pins316 Followers

Question: Frederic Sackrider Remington (1861-1909) specialised in the painting and drawing of what?
Answer: The old American west