Frederic Remington – Painting the Old West
Frederic Sackrider Remington, a name synonymous with the romanticized depiction of the American frontier, was a multifaceted artist who left an indelible mark on American culture. Born in 1861, he was not only a painter but also an accomplished illustrator, sculptor, and writer, all dedicated to capturing the spirit of the Old West, particularly during its final quarter of the 19th century. His works focused on the iconic figures that defined this era: the rugged cowboys, the stoic American Indians, and the disciplined U.S. Cavalry, all brought to life with a vibrant energy and attention to detail that continues to captivate audiences today. The importance of Frederic Remington in preserving the legends of America cannot be overstated.
Born in Canton, New York, on October 4, 1861, Frederic was the only child of Seth Pierre Remington and Clara Bascomb Sackrider. His father, Seth, was a man of notable stature, serving as a colonel in the Civil War. Beyond his military service, Seth also engaged in the world of journalism as a newspaper editor, held the position of postmaster, and actively participated in the political landscape of his community. This diverse background likely instilled in young Frederic a sense of history, duty, and an appreciation for storytelling, all of which would later influence his artistic pursuits.
The early years of Frederic’s life were shaped by his father’s absence during the Civil War. For the first four years, Seth was away, fighting for the Union. Upon his return, the family relocated to Bloomington, Illinois, where Seth took on the role of editor for the Bloomington Republican. However, the family’s stay in Illinois was relatively short, and in 1867, they returned to Canton, New York. As a boy, Frederic found solace and adventure in the outdoors. He spent countless hours hunting in the forests, swimming in the rivers, riding horses across the fields, and camping under the vast, starry skies. These experiences fostered a deep connection to nature and a keen observation of the world around him, elements that would later become central to his art. Unfortunately, academic pursuits did not hold the same appeal for Frederic. He struggled with his studies, preferring to fill his time with drawing and sketching rather than completing his homework. This early inclination towards art hinted at the path he would eventually follow, a path that would lead him to immortalize the landscapes and figures of the Frederic Remington‘s Old West.
When Frederic was eleven, the family moved once more, this time to Ogdensburg, New York. His parents enrolled him in the Vermont Episcopal Institute, a church-run military school, with the hope that the structured environment and discipline would steer him towards a military career. Remington did take his first formal drawing lessons at the Institute. However, his time there was short-lived, and he was soon transferred to another military school. Despite his father’s aspirations, Frederic remained uninterested in a life of military service. His classmates described him as a good-natured and generous young man, perhaps a bit lazy and lacking the temperament of a soldier. Frederic himself envisioned a future as a journalist, with art serving as a supplementary skill.
He subsequently enrolled in the art school at Yale University, where he was the sole male student in his freshman year. This period marked a turning point, as he began to hone his artistic skills and explore his passion for visual storytelling. He also developed an interest in football and boxing, though his athletic abilities were not particularly noteworthy. However, his engagement with these sports sparked a fascination with action illustrations, a genre that would later become a significant part of his artistic repertoire. The burgeoning artist found inspiration in the dynamism and energy of athletic competition, further fueling his desire to capture movement and drama in his artwork.
In 1879, family matters took precedence, and he left Yale to care for his ailing father, who was suffering from tuberculosis. His father passed away a year later at the age of 46. After his father’s death, Frederic took on a clerical job in Albany, New York, seeking stability and a means of supporting himself. He later worked as a reporter for his uncle’s newspaper and held several other short-lived positions, demonstrating a period of exploration and uncertainty as he navigated the transition into adulthood.
At the age of 19, using his inheritance, Remington embarked on his first journey to the West. His initial intention was to invest in a cattle or mining operation in Montana, hoping to capitalize on the opportunities that the frontier offered. However, he quickly realized that his financial resources were insufficient for either venture. Despite this setback, his two-month sojourn in Montana proved to be a transformative experience. He witnessed firsthand the vast prairies, the dwindling buffalo herds, the proud Native American tribes, and the other iconic scenes he had long imagined since his childhood. This authentic glimpse of the Old West ignited his artistic vision and provided him with a wealth of material to draw upon for years to come. Harper’s Weekly published Remington’s first commercial illustration in February 1882, marking the beginning of his professional career as an artist. This early success validated his artistic aspirations and set the stage for his future endeavors.
In 1883, Remington attempted another venture in the West, purchasing a sheep ranch in Peabody, Kansas. He sought to capitalize on the booming sheep ranching and wool trade, investing his entire inheritance in the operation. However, he soon discovered that he was ill-suited for this line of work, finding it harsh, tedious, and isolating. The life of a stockman proved to be a stark contrast to the romanticized vision he had initially held. By the following year, he had sold the ranch and moved to Kansas City, where he invested in a hardware store and then a saloon. These ventures, like his sheep ranch, were short-lived, reflecting his continued search for a fulfilling and sustainable career path. In October 1884, he briefly returned to the East, where he married Eva Caten in Gloversville, New York. The couple then returned to Kansas City, but their stay there was also temporary. By September 1885, they had relocated to Brooklyn, New York.
In Brooklyn, Remington began to dedicate himself to sketching and painting with renewed focus. He bartered his sketches for essential goods, supplementing his income and gaining recognition for his artistic talent. He also enrolled in studies at the Art Students League of New York, where he refined his technique and expanded his artistic knowledge. His increasing success in selling his paintings to local patrons convinced him that art could be a viable profession. Simultaneously, there was a growing interest in the fading Old West among newspapers and magazines. Remington seized this opportunity, submitting illustrations and sketches to publications such as Collier’s and Harper’s Weekly. His first full-page cover appeared in Harper’s Weekly in January 1886, a significant milestone in his career.
The same year, Harper’s Weekly commissioned him as an artist-correspondent to cover the government’s war against Geronimo in Arizona. Though he never encountered Geronimo, the trip deepened his understanding of the West. He received more assignments from the magazine and began illustrating for Outing magazine. He continued to sell his art in exhibitions, solidifying his reputation.
In 1887, he traveled to Canada, illustrating the Blackfeet, Crow, and Canadian Mounties. He was commissioned to create 83 illustrations for Theodore Roosevelt’s Ranch Life and the Hunting Trail.
After his full-color oil painting Return of the Blackfeet War Party was exhibited at the National Academy of Design, the New York Herald predicted that Remington would "one day be listed among our great American painters." His status was cemented in 1889 when he won a second-class medal at the Paris Exposition.
Around this time, Remington gave Harper’s Weekly the first option to display his work, retaining the right to sell elsewhere. The magazine launched a promotional campaign for Remington, increasing his prestige.
In 1890, he held his first one-man show, displaying 21 paintings at the American Art Gallery. That same year, he and his wife moved to New Rochelle, New York, to have more living space and studio facilities. Remington called their house "Endion," an Ojibwa word meaning "the place where I live."
Throughout the 1890s, Remington traveled the U.S., Mexico, and abroad for inspiration, but his military and cowboy subjects always sold the best. In 1895, he began sculpting, excelling in that art form. By the turn of the century, he had also begun writing articles and a novel.
Near the end of his life, he moved to Ridgefield, Connecticut, to escape urbanization. He died after an emergency appendectomy on December 26, 1909, at 48. He was buried in Evergreen Cemetery in Canton, New York. His wife Eva outlived him, dying in 1918. The Frederic Remington House was declared a National Historic Landmark in 1965.
During his lifetime, Remington produced over 3,000 signed paintings and drawings and 22 bronze sculptures, a novel, a Broadway play, and over 100 articles and stories, immortalizing the Western experience. The enduring legacy of Frederic Remington lies in his ability to capture the essence of a bygone era, preserving the spirit of the Old West for generations to come. He stands as a testament to the power of art to shape our understanding of history and culture.