AN APPRECIATION: Frederic RemingtonFrederic Sackrider Remington was an American artists in the second half of the 19th century and the early years of the 20th century. His oil paintings, works on paper and sculptures focused on the Old West and helped to create the image of that era. Although many of his works were used as illustrations, they stand by themselves without supporting text and often speak to the viewer.
Remington was born October 4, 1861 in upstate New York. His father was a Union army colonel and so Frederick did not see much of his father until the end of the Civil War. After the war, his father became a newspaper editor. The family moved briefly to Illinois but soon returned to New York State. Frederic's father hoped that his only child would follow a military career. Therefore, the boy was enrolled in various military schools However, the boy had little interest and, in any case, his grades were not sufficient to get him into West Point. Instead, Frederic went to Yale University in order to study art. He had long shown an interest in art but he did not like the formal academic program at Yale, which required him to spend a lot of time drawing casts of classical statues. Even though he was not a star, Frederic enjoyed playing football more than his studies. Therefore, he did not return to Yale after leaving to take care of his terminally ill father. After his father's death, Remington worked at various jobs including being a clerk and being a newspaper reporter. With the intention of investing his inheritance in mining or cattle ranching, Remington traveled west to Montana in 1881. Although his investment plans did not work out, it was a life-changing trip. The Old West was still alive - - the Battle of the Little Big Horn had taken place only a five years before. Remington had first hand experiences with cowboys, Native Americans, prospectors and the cavalry. It was a world that fascinated him and would occupy his imagination for the rest of his life. Even though Harper's Weekly published a sketch that he made during that first trip west, Remington did not make art his profession at that point. Instead, he moved to Kansas, trying his hand at sheep ranching and later operating a hardware store. When his wife found out that Remington also owned a local saloon, she left him and returned to upstate New York. Remington soon followed after her. He had continued to sketch throughout this period and finding that people were interested in buying his artwork, he now concentrated on it in earnest. Remington and his wife moved to Brooklyn and for three months Remington took classes at the Art Students League in Manhattan. He also spent time at the recently-opened Metropolitan Museum of Art studying the collection; particularly, the works of French academic painters. The subjects of Remington's work were still derived primarily from his experiences in the West. Publishers, catering to a growing public demand, were anxious to obtain content relating to the Old West, especially by someone who had actually been there. As a result, Remington was able to sell his illustrations to the top publications of the day including Colliers and Harper's Weekly. Pleased with his work, the publishers also commissioned Remington to illustrate other stories. As time went on, Remington developed a working relationship with western writer Owen Wister. He also illustrated his own western novels as well as Theodore Roosevelt's memoirs of his experiences ranching in the West. In addition, he accepted an invitation to go west and make portraits of various military figures. Still later, Remington was commissioned to travel to Cuba to cover the Spanish-American War for William Randolph Heart's publications. His drawing of Spanish soldiers searching a naked Cuban woman helped to crystalize American public opinion against Spain. Remington also witnessed combat including the Rough Riders' charge at San Juan Hill. However, he was appalled by the horrors of war. Remington's work made him famous. He became a friend of celebrities and politicians and enjoyed socializing at the multi-course dinners that the Victorian upper classes indulged in routinely. As a result, Remington's size expended so that he weighed some 300 pounds. In 1895, Remington added another arrow to his quiver when he began to create sculptures. His friend the sculptor Frederick Ruckstuhl showed him how to produce a bronze statue from a clay model. Very pleased with the result, Remington went on to create 22 bronze sculpture groups, once again focusing on the Old West. For the most part, Remington's sculptures were not monumental but rather a size suited to a house or office. Although some critics were unimpressed, the sculptures were very popular and sold well at places such as Tiffany & Co. Remington had mixed success with the art establishment. In 1889, one of his works, which had been selected to represent the United States, won a medal at the Paris Exposition. The next year, he held his first one-main show in New York City. Many more would follow. Early in the 20th century, both the Metropolitan Museum and Washington's Corcoran Gallery purchased Remington sculptures for their collections. Still, other critics regarded Remington as a mere illustrator, not a “real” artist. Remington felt the sting of such criticisms and saw his election as an associate - - rather than a full member - - of the National Academy of Design in 1897 as a manifestation of such thinking. A few years later, Remington took a large number of oil paintings that had been used as the basis for illustrations, piled them in the yard of his estate in New Rochelle, New York and set them ablaze. He vowed never to do another illustration. The bonfire was a tragedy as neither Remington or his critics appreciated the value of the works that were destroyed. Naturally, they reflected the attitudes of the time but their authencity gives them historical importance. In addition, Remington's paintings were not mere visual support for stories and articles but were stand alone works that made an emotional as well as intellectual connection with many people. Remington's style moved toward Impressionism in the early years of the new century. However, his new style did not have time to fully develop as he was stricken with appendicitis on December 26, 1909. An emergency operation - - complicated by Remington's obesity - - was performed but the artist died of peritonitis. |
Remington's depictions of western scenes often capture action. Above: The Dash For The Timber".
Below: "On The Southern Plains." 
Two dignified portrayals of Native Americans: "the Scout" (above) and "The Blanket Signal" (below).
Remington's sculptures are not simple compositions but rather are carefully structured so as to capture action. Above: Remington's first sculpture "The Bronco Buster."
Below: The Mountain Man." 
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Artist appreciation - Frederic Remington