Frederic Sackrider Remington became the best recorder of the ancient American West through his artwork- paintings, drawings, sculptures, and writings. The Revolutionary War colonel’s dad Remington’s ancestors immigrated to America from Britain around 1637.
His family was passionately Republican and active in political matters, and he was employed as a newspaper editor and mailman. In addition, the Remington family has accomplished horseback riders, and Samuel Bascom, one of Remington’s fantastic fans, was a horse maker by profession.
Death of Fredric Remington
Fredric Remington spent his later years in Ridgefield, Connecticut. He leaned more firmly toward Impressionism in his final two years, under the influence of The Ten, and he lamented that he was studio-bound (due to his deteriorating health) and could not imitate his contemporaries, who painted “en Plein air.”
On December 26, 1909, Remington passed away due to peritonitis brought on by an urgent appendectomy. His great weight (almost 300 pounds) hindered the anesthesia and the surgery, and the postmortem analysis identified chronic appendicitis as a contributing factor in his demise.
In 1965, the Frederic Remington House was designated as a National Historic Landmark. He was Deborah Remington’s great-uncle. The historic Ogdensburg Post Office in New York was renamed the Frederic Remington Post Office Building in 2009 after the US Congress passed legislation.
Here are some of the best art pieces by Fredric Remington:
A Dash for the Timber by Frederic Remington
A Dash for the Timber was painted when the artist was only 28 years old. It came up as a result of Remington’s numerous early journeys across the “wild” American West.
Remington produced dramatic, dynamic, and legendary works of art. But, first, he sent sketches of his earliest outings to well-known modern publications, including Outing, Harper’s Weekly, and Century Magazine.
Artist Fredric Remington quickly established a market for his figurative paintings of historical figures. Delivering documentary-style pictures of the Wild West to an interested audience. Some of Remington’s followers were so influenced by him that they decided to travel to such ungoverned regions.
A Dash for the Timber perfectly illustrates how the eager young Remington entered the public consciousness of American legend construction. Remington became well-known because he disregarded the accepted norms of aesthetics. During a time when religious settings were the norm, painting entirely American topics.
The Fall of the Cowboy by Frederic Remington
A remarkably accurate depiction of life in the American West may be found in The Fall Of The Cowboy. Remington’s portrayals of life in the “wild” West were reflections of reality and increasingly a review of how the North of his day saw the disagreeable and unruly South.
However, the Fall Of The Cowboy is a remarkable collection of the West’s ruins, portraying the valiant and horrifying people of the south. Remington’s picture shows a world complete with conflicts from a rural reality striving to survive in a rapidly modernizing nation.
The men are forced to cross a wire fence, showing how the unfair land and property division impacts them. The artwork was one of five illustrations for Owen Wister’s essay, “The Evolution of the Cow Puncher,” which appeared in Harper’s New Monthly Magazine in September 1895.
The utopian aspirations of the American Dream needed to be revived after the devastating fear of the American Civil War and the reproductive years. Young, talented, and aspirational artists, therefore, embraced the mythmaking of the Western Frontiers.
The Fall Of The Cowboy, one of Remington’s most famous paintings, is a prime example of how much the artist himself contributed to the mystique of the cowboy.
Fight for the Waterhole by Frederic Remington
Fight for the Waterhole is a fantastic composition painted in 1903 on canvas and is now kept in the Museum of Fine Arts in Houston, Texas. According to Frederic Remington, the West was a dangerous region and a location where brave people overcame challenges.
In the vast expanse of a bone-dry desert, the water hole appears to be a sad puddle of water. The soldiers are holding their weapons ready to fire since guarding the small lake is their only responsibility. Five men and their ponies are crouching within. Indians, though, watch over there.
Remington divides the picture into large color chunks, placing the viewer considerably above the action and presenting a more enlightened viewpoint on the steel-peered western cowboys. In addition, the purple mountains divide the desert into several areas.
Aiding a Comrade by Frederic Remington
Remington directs the gaze to the center of the picture by centering the composition around the muted-hued horses. The white residual cloud behind the focal figure frames him and draws attention to him.
The men’s attire and rigorous equipment show Remington’s attention to detail. He vividly conjures up a landscape from the American West. He uses blending techniques, less detail, and more miniature Indians.
Remington’s colors are warm and bold; little contacts of cream, blue, tan, and yellow on the ground produce the impression of the blazing daytime. The rapid, brief brushstrokes reveal the influence of French Impressionism, which is highlighted by color, shadow and light.
Remington selected a dramatic situation to depict in Assisting a Comrade. One interpretation of this image is that a cowboy has fallen off this horse while riding. Additionally, his buddies are striving to assist him by preventing horse tramples.
The rider’s destiny is left unspecified by the artist. Remington nevertheless adds a touch of fatalism by revealing the painting’s original headline, Past All Surgery. He suggests that the wounded cowboy may be beyond help and will likely be killed by the oncoming Plains Indians.
During the “Golden Age” of illustration at the end of the 19th and the beginning of the 20th century, Remington was the most prominent Western illustrator. As a result, other Western artists like Charles Russell and Charles Schreyvogel became known as “School of Remington” members during Remington’s lifetime.
He eschewed the ethnic realism of older Western artists like George Catlin in favor of a realistic, occasionally impressionistic manner. He portrayed nearly entirely males, with a strong emphasis on Western people and animals.