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Frederic Remington Most Famous Paintings
Dawit Abeza
Frederic Remington Most Famous Paintings

Frederic Remington Most Famous Paintings

Who is Frederic Remington?

Frederic Sackrider Remington was an American painter, illustrator, sculptor, and writer who specialized in representations of the Old American West, especially concentrating on the last quarter of the nineteenth-century in the American West with images of cowboys, American Indians, and the U.S. Cavalry.

Remington was conceived in Canton, New York in 1861 to Seth Pierrepont Remington and Clarissa Bascom Sackrider, whose family emigrated from Alsace-Lorraine, German Empire in the early 1700s.

Remington's father was a colonel in the Civil War and his family arrived in the United States from England in 1637. He was a newspaper manager and postmaster, he was active in local legislative issues and staunchly Republican. One of Remington's great grandfathers, Samuel Bascom, was a saddle maker by trade. Frederic Remington was related by family bloodlines to native American portrait artist George Catlin and cattle rustler sculptor Earl W. Bascom.

So without further ado, here are 12 of Frederic Remington's most famous paintings: 

 

  1. A Dash for the Timber by Frederic Remington
  2. The Fall of the Cowboy by Frederic Remington
  3. Fight for the Waterhole by Frederic Remington
  4. Aiding a Comrade by Frederic Remington
  5. The Scout: Friends or Foes? by Frederic Remington
  6. Cold Morning on the Range by Frederic Remington
  7. On the Southern Plains by Frederic Remington
  8. A Mexican Vaquero by Frederic Remington
  9. An Indian Trapper by Frederic Remington
  10. What an Unbranded Cow Has Cost by Frederic Remington
  11. Self-Portrait on a Horse by Frederic Remington
  12. Indians Simulating Buffalo by Frederic Remington 

Frederic Remington Artworks 

A Dash for the Timber by Frederic Remington

A Dash for the Timber by Frederic Remington 

A Dash for the Timber was painted in 1889 when the artist was only 28. It was a result of the various formative travels Remington took across the 'wild' American west.

Remington created works of drama, motion, and legend. First submitting sketches of his early excursions to popular contemporary magazines, for example, Outing, The Century Magazine, and Harper's Weekly, Remington before long found an audience for his figurative reproductions of living fantasies. Providing an eager audience with documentary-style images of how wild-west followers had persuaded themselves to come into those lawless lands, the artist became the favorite of President Roosevelt.

A Dash for the Timber is, therefore, a prime example of the ambitious youthful Remington entering the open cognizance of American legend composition. Remington's popularity originated from his dismissal of the established standards of art styles. Painting completely American subjects when religious landscapes were the standards.

Remington began concentrating on large-scale canvases once he had consolidated his situation as the nation's most popular magazine illustrator. Drawing on his vast store of drawings, sketches, and encounters from his past excursions west, Remington concentrated exclusively on staging figurative reproductions of everyday life in the American West.  

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The Fall of the Cowboy by Frederic Remington

The Fall of the Cowboy by Frederic Remington

The Fall Of The Cowboy is a distinctly precise reproduction of life in the American West. Remington's propagations of life in the 'wild' west were impressions of life as it was and increasingly a portrayal of how his contemporary North observed the unpleasant and wild South.

However, The Fall Of The Cowboy is an exceptional archive of the wreckage of the west which represents the courageous and appalling individuals of the south. Remington's painting depicts a world loaded up with battles of a provincial reality fighting for longevity in a quickly modernizing country. Forced to cross a wire fence, the men are demonstrated to be molded by the unreasonable dividing of land and property.

The painting was one of five illustrations connected to an article by Owen Wister, titled, "The Evolution of the Cow Puncher," in Harper's New Monthly Magazine, September 1895. After the cataclysmic frightfulness of the American Civil War and the reproduction years, there was an earnest need to resuscitate the idealistic estimations of the American Dream and thus the mythologizing of the Western Frontiers was embraced by ambitious and skilled youthful artists. The legend of the cowboy was in an enormous part made by Remington himself in canvases of such gigantic prominence as The Fall Of The Cowboy.  

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Fight for the Waterhole by Frederic Remington

Fight for the Waterhole by Frederic Remington

Painted in 1903 on canvas and right now housed at the Museum of Fine Arts in Houston, Texas, Fight for the Water Hole is a wonderful picture. Frederic Remington thought of the West generally as a position of risk, privation, and as a land where heroes met these difficulties.

The water hole is somewhat more than a hopeless puddle of water – a puddle in an immense spread of bone-dry desert. Five men and their horses are crouched inside, and the men hold their rifles ready to shoot, for securing the water hole is their sole duty. However, Indians hover out in the yonder. Also, Remington doesn't appear to hold out a lot of trust in cowboys.

Remington separates the painting into wide fragments of color, putting the watcher somewhat over the activity. Giving a superior perspective on the steely-peered westerner (who looks somewhat like on-screen character Sam Elliott), additionally provides a perspective on the purplish mountains in the painting which gives a separation between the cowboys.

The spread builds the significance of the waterhole: however it is enormous in the painting, it is microscopic in the plan of the landscape. The long shadow on the side of the hole doesn't look good for our heroes, the day is obviously fading, making them progressively defenseless. 

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Aiding a Comrade by Frederic Remington

Aiding a Comrade by Frederic Remington 

Remington centers around the gathering of men and horses in the foreground. The earthy colored horses turn outward, framing the central figure, who is further accentuated by the haze of white residue behind him.

The artist's attention to detail is apparent in the depiction of the men, their clothing, and their rigid gear. Remington creates a convincing illusion of a profound scene through the wild west viewpoint.

He paints the Indians a lot smaller, with less detail, and with faded colors. Remington's colors are natural and strong; small contacts of blue, cream, tan, and yellow on the ground propose the sparkle of the hot daylight. The speedy, short brushstrokes show the influence of French Impressionism, which emphasized color, shadow, and light.

In Aiding a Comrade, Remington chose to paint a scene with drama. One interpretation of this painting is that, while riding, a cowboy has fallen from this horse. His companions attempt to support him and keep him from being trampled by horses.

The artist leaves the fate of the rider unclear. Nonetheless, in knowing the painting's original title, Past All Surgery, Remington incorporates a component of fatalism and indicates that the fallen cowboy, perhaps beyond any assistance, may be bound to be murdered by the pursuing Plains Indians.  

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The Scout: Friends or Foes? by Frederic Remington

The Scout: Friends or Foes? by Frederic Remington 

A solitary Blackfoot Indian leans forward on his horse, gazing across a blanketed landscape at the lights of a distant encampment. The figure, the horse's breath, and the glimmering sky create an almost palpable stillness and tension.

The rider is uncertain and doesn't know whether he would be welcomed at the camp. The painting's dismal mindset mirrors a move in Remington's common images of the West and it increasingly isolates the Native American population, indicating nostalgia for a way of life that he felt was disappearing.  

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Cold Morning on the Range by Frederic Remington

Cold Morning on the Range by Frederic Remington 

The painting portrays a man on the American frontier, riding a large, earthy colored, wild horse. The horse seems like it is not trained because it is jumping and seems menacing. In the background are many other men with horses, apparently on a cattle drive.

Mountains are also noticeable in the distance, which perhaps leads the watcher to assume that this is the Goodnight-Loving Trail and the mountains are a string of the famous Sierra Nevada range. All through the painting, the color yellow is dominantly used to show the arid nature of the land.

Remington emphasized themes as independence and mastery over nature. The man in the front center of the painting is assumed to be a cowhand.

He is wearing the traditional garb of a cowhand, including chaps, cowboy boots, and a canvas shirt. He isn't wearing a hat, in all probability because of the rowdiness of the horse, and the high probability that the hat tumbled off by the horse. He is sitting on a saddle and gives the impression of an accomplished rider; he grasps the reins with one hand and handily counterbalances it by placing his other hand in the air. His kindred cowhands appear to watch him with some concentration, however, they are distant from him and somewhat hard to see.

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On the Southern Plains by Frederic Remington

On the Southern Plains by Frederic Remington 

One of Remington's favorite themes was the American fighter in the West, of whom he wrote, “His heroism is called duty, and it probably is.” Here, fighters attacked by concealed foes. Although the painting was probably meant to allude to the war against the Plains Indians in the 1860s—Remington titled it "Cavalry in Sixties"— the uniforms and weapons are probably from the war. The artist was willing to depart from reality. For example, the horses and riders appear to be a part of a dynamic range rather than in a straight horizontal line, which was the usual attack formation.

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A Mexican Vaquero by Frederic Remington

A Mexican Vaquero by Frederic Remington 

An outing to Mexico in 1889 gave Frederic Remington a wealth of firsthand material for paintings and illustrations later created in his New York studio. Here Remington portrayed a vaquero, a Mexican horseman similar to the cowboys of the American frontier.

The figure sits astride his horse at an elevated position, his head and middle above the horizon, outlined by the pale blue sky behind him. Portraying the man with an immediate gaze and his hand on the reins, Remington recommended that the vaquero was an establishment of the local terrain. The artist created a version of A Mexican Vaquero on a wood engraving, which appeared in Harper's Monthly in 1891.  

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An Indian Trapper by Frederic Remington

An Indian Trapper by Frederic Remington 

In April 1887 Remington ventured on a sketching expedition to the Canadian West. Traveling to Alberta, he headed north toward Calgary and attempted to portray the Blackfeet along the Bow River. He gathered countless artifacts on the outing, and some of them were incorporated into this painting, which he finished in his studio at a later date.

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What an Unbranded Cow Has Cost by Frederic Remington

What an Unbranded Cow Has Cost by Frederic Remington 

Inspired by the "cattle wars" of the 1880s and 1890s, where wealthy cattle barons displaced independent homesteaders and small-scale ranchers. Frederic Remington's painting delineates the deadly aftermath of a shootout over the blame for unbranded animals.

The painting was illustrated in a nostalgic article in Harper's Monthly by Remington's companion, Owen Wister, about the historical backdrop of cowboys, whom Wister compared to Anglo-Saxon knights. Remington and Wister's glorification of the American cowboy as an image of Anglo-Saxon culture was a response to the apparent threat of immigration. Remington looked to celebrate the cowpuncher, yet the melancholy tone of this painting instead declares that this mythic figure and his frontier world were vanishing.

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Self-Portrait on a Horse by Frederic Remington

Self-Portrait on a Horse by Frederic Remington 

In this composition, Remington gave tribute to his ideals: The western officials and men of the U.S. Army. He knew that he wasn't an officer of the law. Nevertheless, he allowed himself to be romanticized as a trooper. And he painted himself as a western cowboy. Although he never functioned as one, he claimed to know “that gentleman to his character’s end.” The angle is gallant, the horse and rider overshadow the watcher who is forced to gaze up to look at the subject.

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Indians Simulating Buffalo by Frederic Remington

Indians Simulating Buffalo by Frederic Remington 

The exchange of glances is the focal point of this painting. An intriguing homage to a vanishing way of western life. Buffalo skins tossed over them, two Native Americans of the Western plains utilize a revered hunting performance. In this context, they have camouflaged themselves as bison in a quest to scout the white pioneers.

This painting was strongly influenced by the Impressionist movement and was commissioned for the front page of the September 18, 1909 issue of the popular magazine Collier's Weekly.

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