For example, Edwin Porter’s permeating film The Great Train Robbery of 1903, and John Ford’s Bucking Broadway, released in 1917, feature similar perspectives in cowboy scenes.Ĭoming Through the Rye is the artist’s most successful effort at his immersive compositional practice in three-dimensional form, and, initially conceived in 1902, lands squarely within Remington’s most effective and prolific exploration of the head-on design. This unmistakable compositional style anticipated the cinematic visions of the Wild West that have followed in Remington’s footsteps, perhaps even contributing to those popular films emerging around the time of the creation of Coming Through the Rye. His success in achieving this feeling is driven by a head-on perspective that has made his work instantly recognizable, evidenced by celebrated paintings such as Dismounted Fourth Troopers (1890, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts), Dash for Timber (1889, Amon Carter, Fort Worth, Texas), Aiding a Comrade (1890, Museum of Fine Arts, Houston, Texas) and The Emigrants ( circa 1904, Museum of Fine Arts, Houston, Texas). In such works, as in Coming Through the Rye, Remington casts the viewer into the middle of the action, demanding that they participate in not only the narrative, but the entire sensation of the scene. Much of the success of Remington’s best works-those images that have resonated throughout history-derives from his ability to evoke for viewers the drama of the scenes he depicted. 207) The present edition, cast number 3, completed by 1906, represents one of the last lifetime casts of this seminal sculpture to remain in private hands. Hassrick, Frederic Remington: The Masterworks, New York, 1988, p. Remington’s most daring and complex sculptural undertaking, Coming Through the Rye has become “etched into popular consciousness in a way that is rare in the annals of American sculpture.” (M.E. Not only representing the popular interests of the era during which they were created, such portrayals have come to inform our national perception of an entire region and of one of the country’s most enduring personas, the American cowboy. 136-39, another example illustrated.įrederic Remington’s iconic depictions of the American West are among the most widely appreciated works in the history of American art. Dippie, The Frederic Remington Art Museum Collection, Ogdensburg, New York, 2001, pp. Webster, et al., Remington: The Years of Critical Acclaim, Santa Fe, New Mexico, 1998, p. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, vol. Greenbaum, Icons of the West: Frederic Remington’s Sculpture, Ogdensburg, New York, 1996, pp. Ballinger, Frederic Remington, New York, 1989, pp. Hassrick, Frederic Remington: The Masterworks, New York, 1988, pp. Foxley, Frontier Spirit: Catalog of the Collection of the Museum of Western Art, Denver, Colorado, 1983, pp. Shapiro, Cast and Recast: The Sculpture of Frederic Remington, Washington, D.C., 1981, pp. 50, another example illustrated.įrederic Remington: The Late Years, exhibition catalogue, Denver, Colorado, 1981, p. Norton Art Gallery, Shreveport, Louisiana, 1979, p. Dippie, Frederic Remington (1861-1909): Paintings, Drawings, and Sculpture, In the Collection of the R.W. Wear, The 2 nd Bronze World of Frederic Remington, Tulsa, Oklahoma, 1976, pp. Richardson Foundation Collections, New York, 1973, pp. Hassrick, Frederic Remington: Paintings, Drawings and Sculpture in the Amon Carter Museum and the Sid W. McCracken, The Frederic Remington Book: A Pictorial History of the West, Garden City, New York, 1966, p. Hassrick, Frederic Remington, exhibition catalogue, Fort Worth, Texas, 1961, pp. 43, another example illustrated.Īmon Carter Museum of Western Art, Inaugural Exhibition, Selected Works: Frederick Remington and Charles Marion Russell, exhibition catalogue, Fort Worth, Texas, 1961, p. McCracken, Frederic Remington: Artist of the Old West, New York, 1947, p.
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