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.

The End of the Day, Frederic Remington, 1904, From the collection of: Frederic Remington Art Museum
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. 
The Last March, Frederic Remington, 1906, From the collection of: Frederic Remington Art Museum

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
The End of the Day, Frederic Remington, 1904, From the collection of: Frederic Remington Art Museum

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".

Small Oaks, Frederic Remington, 1887, From the collection of: Frederic Remington Art Museum

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
Antoine's Cabin, Frederic Remington, 1890, From the collection of: Frederic Remington Art Museum

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
The Charge of the Rough Riders, Frederic Remington, 1898, From the collection of: Frederic Remington Art Museum

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

The Charge of the Rough Riders
The Messenger, Frederic Remington, 1887, From the collection of: Frederic Remington Art Museum

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

The Messenger
Full-Dress Engineer, Frederic Remington, 1889, From the collection of: Frederic Remington Art Museum

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

The Sun Dance, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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.

Evening in the Desert. Navajoes, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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

Hauling the Gill Net, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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

An Old-Time Plains Fight, Frederic Remington, 1904, From the collection of: Frederic Remington Art Museum

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

The Howl of the Weather, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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.

River Drivers in the Spring Break Up, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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.

Pontiac Club, Canada, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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

The Moose Country, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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

Pontiac, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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.

Canada, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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

The Sentinel, Frederic Remington, 1907, From the collection of: Frederic Remington Art Museum

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.

Polo cast no. 2, Frederic Remington, 1904, From the collection of: Frederic Remington Art Museum

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.

Polo
The Cheyenne, Frederic Remington, 1906, From the collection of: Frederic Remington Art Museum

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

The Cheyenne
The Mountain Man, Frederic Remington, 1903, From the collection of: Frederic Remington Art Museum

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, Frederic Remington, 1906, From the collection of: Frederic Remington Art Museum

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.

Trooper of the Plains, Frederic Remington, 1909, From the collection of: Frederic Remington Art Museum

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, Frederic Remington, 1910, From the collection of: Frederic Remington Art Museum

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
The Rattlesnake, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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, Frederic Remington, 1898, From the collection of: Frederic Remington Art Museum

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, Frederic Remington, 1905, From the collection of: Frederic Remington Art Museum

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.

Dragoons
Credits: Story

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

Credits: All media
The story featured may in some cases have been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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