![]() ![]() Invested his remaining funds into being a half-owner of a saloon.Moved to Kansas City with more money from his mother to start his own hardware business (This also failed - due to an alleged swindle).Moved to Peabody, Kansas, and invested all his money on starting his own sheep ranch/ wool trade (This failed - he sold his ranch after a year and returned home to his mother).In his “in-between” years of seeing what the Old West looked like firsthand, attempting to live it, and skirting his priorities back to the path of art, Frederic: ![]() These same scenes that he had spent his childhood imagining and sketching as a sign of respect and admiration were before his very eyes - scenes he would reverently build from in his own creative way. He witnessed vast, open prairies, buffalo herds that were gradually diminishing of their numbers, cattle wandering without fences to border them in, and even some of the last conflicts fought between Native American tribes and U.S. At nineteen, he traveled west for the first time in his life. After his father’s death, Frederic decided to spend some time away from school and went camping as a way to enjoy himself independently. Frederic was fascinated with the movement found in tension-filled games of football and boxing, and the first illustration he ever published was a cartoon for the student newspaper of a football player covered in bandages.įrederic left school to be with his father, who eventually passed away from tuberculosis. He had no interest in sitting at a desk and sketching two-dimensional depictions of fruit in a bowl - he craved crafting art with action. In a letter to his uncle, Frederic considered a life as a journalist with art as a side gig.įrederic eventually applied to and attended art school at Yale University, but quickly realized he wasn’t a fan of the traditional form of art training. A transfer to another military school revealed that Frederic was considered “a pleasant fellow” by his classmates, as well as “a bit careless and lazy, good-humored, and generous of spirit… but definitely not soldier material” ( Source). Frederic’s parents sent him to a church-run military school called Vermont Episcopal Institute as an effort to “rein in” Frederic’s focus to that of an eventual military career. In 1872, when he was eleven years old, Frederic’s family moved to Ogdensburg, New York. Colonel Remington had hoped that his son Frederic would one day attend West Point, but it became clear at an early age that Frederic’s interests lied elsewhere. ![]() Rather than finding school papers worked through and strewn about, Frederic’s mother noticed that drawings and sketches of soldiers and cowboys littered the Remington house. Frederic was an only child who loved to hunt, swim, ride horses, and go camping, but he struggled as a student. Home to Wichita, Kansas, the Museum of World Treasures is honored to have four bronze homages to Frederic Remington and Charles Russell’s sculptures, three of which are titled “Mountain Man,” “Lassoed Mustang,” and “Coming Through the Rye.”įor the first four years of Frederic’s life, his father was away, serving as a colonel in the Civil War. ![]() today, and even fill a museum of their own (the Frederic Remington Art Museum in Ogdensburg, New York). His sculptures and bronze casts are sprinkled throughout the U.S. Knoedler & Co., New York, 1950) to Robert Sterling Clark, January 23, 1951.Frederic Sackrider Remington is best known for his action-packed depictions of the American Old West, both in the form of illustrations and sculptures. Townsend Lansing to Albany Institute of History and Art, 1920 to (John Levy Galleries, New York, and M. Townsend Lansing, Albany, New York estate of J. To Ledyard Cogswell, Sr., Albany(?), New York to J. American Paintings and Sculpture at the Sterling and Francine Clark Art Institute. (95.6 × 128.3 × 7.6 cm)Īcquired by Sterling and Francine Clark, 1945įrederic Remington, Friends or Foes? (The Scout), 1902–05, Oil on canvas. The painting’s somber mood reflects a shift in Remington’s many images of the West and its increasingly isolated Native American population, indicating nostalgia for a way of life he felt was disappearing. The figure’s pose, the horse’s breath, and the glimmering sky create an almost palpable stillness and tension-the rider has no way of knowing if he would be welcome at the camp. A solitary Blackfoot Indian leans forward on his horse, gazing across a snowy landscape at the lights of a distant encampment. ![]()
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