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.
Frederic Remington Short Biography
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. One of Remington's great grandfathers, Samuel Bascom, was a saddle maker by trade. Remington's father was a colonel in the Civil War and his family arrived in the United States from England in 1637.
Remington was a newspaper manager and postmaster, he was active in local legislative issues and staunchly Republican.
Remington was related by family bloodlines to native American portrait artist George Catlin and cattle rustler sculptor Earl W. Bascom.
List Of Frederic Remington's Famous Paintings
So without further ado, here are 12 of Frederic Remington's most famous paintings:- A Dash for the Timber by Frederic Remington
- The Fall of the Cowboy by Frederic Remington
- Fight for the Waterhole by Frederic Remington
- Aiding a Comrade by Frederic Remington
- The Scout: Friends or Foes? by Frederic Remington
- Cold Morning on the Range by Frederic Remington
- On the Southern Plains by Frederic Remington
- A Mexican Vaquero by Frederic Remington
- An Indian Trapper by Frederic Remington
- What an Unbranded Cow Has Cost by Frederic Remington
- Self-Portrait on a Horse by Frederic Remington
- Indians Simulating Buffalo by Frederic Remington
Frederic Remington Artworks
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 that Remington took across the 'wild' American west.
Remington created artworks of drama, action, and legend. First submitting sketches of his early excursions to popular contemporary magazines: Outing, The Century Magazine, and Harper's Weekly.
Remington before long found an audience for his figurative art reproductions of living legends. Providing an eager audience with documentary-style images of how the wild-west was. Remington had such an impact on some of his followers that they had persuaded themselves to come into those lawless lands.
Remington even became the favorite artist 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 prominence as one of the nation's most popular magazine illustrator.
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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
Painted in 1903 on canvas and right now housed at the Museum of Fine Arts in Houston, Texas, Fight for the Waterhole is a wonderful composition.
Frederic Remington thought of the West generally as a place of risk and as a land where heroes met these difficulties.
The water hole seems to be 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.
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 cowboys. The purplish mountains in the painting provide separation between the desert. The day is obviously fading, making them progressively defenseless.
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Aiding a Comrade by Frederic Remington
Remington centers this composition around earthy colored horses which guides the observer's attention to the middle of the painting. Framing the central figure, who is further accentuated by the haze of white residue behind him.
Remington's attention to detail is apparent by the men's clothes and their rigid gear. He creates a profound scene of the wild west. He paints the Indians smaller, with less detail, and blending colors.
Remington's colors are warm and strong; small contacts of blue, cream, tan, and yellow on the ground creates the imagery of the hot daylight. The speedy, short brushstrokes show the influence of French Impressionism, which is emphasized by 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. And his companions are attempting to help him by keeping 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
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 light blue sky create an almost palpable stillness and tension within this painting.
The rider is uncertain and doesn't know whether he would be welcomed at the camp.
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Cold Morning on the Range by Frederic Remington
The painting portrays a man on the American West frontier, riding a large, and earthy colored.
The horse seems to be wild and is in a jumping motion. It has a somewhat of menacing look suggesting that it doesn't like to be ridden.
In the background are many other men with horses on a cattle drive. The mountains are also noticeable in the distance, which perhaps leads the watcher to assume that this is the Goodnight-Loving Trail. The mountains may be in the famous Sierra Nevada range.
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 there is a 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
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.”
This 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 in this painting seem to be from the war.
Remington was willing to depart from realism in his paintings.
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 tactical attack formation.
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A Mexican Vaquero by Frederic Remington
An outing to Mexico in 1889 gave Frederic Remington a wealth of firsthand materials for his paintings and illustrations that he would later create in his New York studio.
Here, Remington portrayed a vaquero, a Mexican horseman similar to the cowboys of the western American frontier.
The figure sits astride on 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 makes the vaquero look at his observer.
Remington 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
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
Inspired by the "cattle wars" of the 1880s and 1890s. 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
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.
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Indians Simulating Buffalo by Frederic Remington
The exchange of glances between the two Native Americans is one of the focal points of this painting. There's Buffalo skin tossed over them, which at times is used hunting. However, 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. An intriguing homage to a vanishing way of western life.
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