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Here are all the paintings of Frederick Remington 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 4318 |
 |
A Cavalryman's Breakfast on the Plains |
|
| 4320 |
 |
Apache |
|
| 4307 |
 |
Arizona Cowboy |
|
| 4300 |
 |
Bringing Home the New Cook |
|
| 41505 |
 |
Buffalo Bill in the Spotlight |
mk162
1899
Oil on canvas
27x40
|
| 4308 |
 |
Coming and Going of the Pony Express |
|
| 4312 |
 |
Dismounted |
|
| 4298 |
 |
Great Explorers |
|
| 4319 |
 |
His First Lesson |
|
| 4305 |
 |
If Skulls Could Speak |
|
| 4302 |
 |
Indian Trapper |
|
| 45959 |
 |
Oil undated Geronimo Fleeing from camp |
mk178
on linen |
| 4304 |
 |
Old Stage Coach of the Plains |
|
| 4311 |
 |
Scout |
|
| 4316 |
 |
Shotgun Hospitality |
|
| 4324 |
 |
The Advance Guard |
|
| 4299 |
 |
The Buffalo Runner |
|
| 4325 |
 |
The Emigrants |
|
| 4310 |
 |
The Fall of the Cowboy |
|
| 40845 |
 |
The Fall of the Cowboy |
mk156
1895
Oil on canvas
63.5x89cm
|
| 4301 |
 |
The Outlier |
|
| 4314 |
 |
The Scout : Friends or Enemies |
|
| 4323 |
 |
The Stampede |
|
| 4321 |
 |
Turn Him Loose, Bill |
|
| 4315 |
 |
Victory Dance |
|
| 74060 |
 |
What an Unbranded Cow Has Cost |
oil on canvas, by the American artist Frederic Remington. 28 1/16 in. x 35 1/8 in. Yale University Art Gallery, gift of Thomas M. Evans, B.A. 1931. Courtesy of Yale University, New Haven, Conn.
Date 1895(1895)
cyf |
| 4306 |
 |
When Heart is Bad |
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| Frederick Remington
|
| 1861-1909
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 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??. 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. (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).
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