Remington Masterworks

Frederic Remington Art Museum

Outstanding works of art by artist Frederic Remington displayed in the Albert P. Newell Gallery of the Frederic Remington Art Museum in Ogdensburg, NY.

Remington Masterpieces
Remington Masterpieces is a semi-permanent installation of some of the finest oil paintings and bronze sculptures in the Frederic Remington Art Museum's collection. Each of the 18 paintings is shown in the original frame Remington chose for it. This exhibit includes the museum's most famous painting, Charge of the Rough Riders, as well as 4 of the museum's magnificent collection of Remington nocturnes. There are rare bronzes, such as Polo, of which only two casts were made, and a rare opportunity to compare two lifetime casts of The Cheyenne. The Rattlesnake number 14, on loan to the museum, was in the Oval Office during the Reagan and first Bush administrations. 

Typical of Remington’s paintings after he had
stopped working as an illustrator, this painting shows the half-starved, riderless horse as a suggestion of the absent rider’s recent demise.

The Last March

One of twelve major paintings Remington produced in a 1904 contract with Collier’s.
The colors of this nocturne were typical of Remington when he favored "the soft gray-blues of the moonlight".

The subject matter here is Remington’s beloved summer escape, the St. Lawrence River. Remington would paint places he loved for his own enjoyment and to practice his development as a painter.

Small Oaks

Painted to illustrate the article, “Antoine’s
Moose-Yard,” which appeared in Harper’s Weekly, October 1890, and was written by
Remington’s friend Julian Ralph.

Antoines Cabin

Remington went to Cuba in 1898 to cover the Spanish-American War for the New York Journal.

The Charge of the Rough Riders

Remington painted hundreds of black and white oil paintings, particularly at the beginning of his career. They are characteristically smaller paintings.

The Messenger

This portrait of a Mexican military engineer is one of dozens Remington painted in rapid succession on a working trip to Mexico in 1889.

Remington’s diary, Sunday, February 28, 1909:
“Am starting Sundance for the love of Record of Great Things but I’ll never sell it - it will give everyone the horrors.

An example of how Remington merged the western subject matter with his newly developed impressionistic style.

Based on an earlier illustration Remington did in 1891 called ”Big Fishing-Indians Hauling Nets on Lake Nepigon.”

Remington provided this painting to Century Magazine to illustrate an article on the fur trade. The half-breed fur traders have
entered native American territory and are meeting a hearty resistance.

Remington deviated repeatedly from the expected western themes in favor of North Country subjects. Based on Remington’s experiences of rough water on the St. Lawrence River.

One of Remington’s most experimental in his use of color and atmospheric effects. The green ice has been identified as the actual color of the ice on the St. Lawrence River near Clayton New York.

In July of 1909, Frederic and Eva Remington traveled to the Pontiac Club, a private sportsmen's getaway in northwestern Quebec, Canada.

In July of 1909, Frederic and Eva Remington traveled to the Pontiac Club, a private sportsmen's getaway in northwestern Quebec, Canada.

In the last summer of his life (1909),
Remington and his wife Eva spent much of their time at the Pontiac Club on McGillivary Lake near Chapeau, Quebec.

In July of 1909, Frederic and Eva Remington traveled to the Pontiac Club, a private sportsmen's getaway in northwestern Quebec, Canada.

The Sentinel is a painting that drew praise from the critics of Remington’s day. They found this nocturne and others like it to be technically accomplished as well as museum-worthy.

Remington took great care to show the tiniest refinements in these well kept men and their ponies; down to neatly buttoned shirts and visible blood vessels on the horses’ necks.


The Cheyenne is unlike most Remington equestrian figures because the base, horse, and rider were cast in one piece.

The Cheyenne

Number 54 was cast for the Remington Art
Memorial under the direction of Eva Remington’s will. The Mountain Man depicts an Iroquois from New York State working as a trapper in the Rockies.

The Outlaw’s title refers to the horse rather than the rider, contrary to what one might expect. It is an outlaw in its disobedience,
trying to buck off the rider.

In this bronze, Remington is able to show off his sculpting prowess and his knowledge of historical detail in the uniform and equipment.

The Stampede existed only as a clay model from which casts had not yet been made when Remington died in 1909. The casting was supervised by a friend and fellow sculptor named Sally James Farnham.

The Stampede

This exemplifies Remington’s success at capturing action at the height of suspense. The
bodies of the horse and the rider are filled with tension as they react to the poised snake.

The Rattlesnake

The Scalp depicts the Native American subject as a stereotypical savage. This type of depiction shows the Native American as an uncivilized exotic to be feared and admired.

Dragoons 1850 shows pre-cavalry United States
troops in the West battling with the enemy of the day-the Native American inhabitants of the Western Territories.

Credits: Story

Remington Masterpieces was curated by Laura A. Foster director of the Frederic Remington Art Museum in Ogdensburg, NY.

Credits: All media
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