Traces the history of the American West, particularly in terms of pioneer life and Indian relations, through the revealing paintings of Remington

A detailed study of the twenty-two sculptures created by Remington, contrasting authentic lifetime castings with fraudulent examples.

Represents the surprising range of illustrations of Frederic Remington, celebrated painter and historian of the American West.

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Discusses the life of Frederic Remington and describes his unique style of art.

One of America’s most popular and influential American artists, Frederic Remington (1861–1909) is renowned for his depictions of the Old West. Through paintings, drawings, and sculptures, he immortalized a dynamic world of cowboys and American Indians, hunters and horses, landscapes and wildlife. Frederic Remington: A Catalogue Raisonné II is a comprehensive presentation of the artist’s body of flat work, both in print and on this book’s companion website. Beautifully illustrated with more than 150 figures and 100 color plates, this book offers insightful essays by notable art historians who explore Remington’s experiences in Taos, New Mexico, and other parts of the West. The chapters include analyses of Remington’s artistic development from an illustrator to a fine art painter, his search for and understanding of “men with the bark on,” his relationship with the famed illustrator Howard Pyle, and the shared imagery of Remington and “Buffalo Bill” Cody. A chapter considering Remington’s enduring bond with the horse and its representation in his paintings follows an examination of Remington’s ties to Theodore Roosevelt that reveals how the two men helped move the American conscience toward wildlife preservation. An assessment of the authentication process for evaluating Remington’s works opens the collection: Remington is perhaps the most frequently faked American artist. The book features a unique keycode granting access to a companion website that brings together more than 3,000 reproductions of the artist’s flat works, including the complete original 1996 edition of the Catalogue Raisonné and nearly 300 previously unknown or relocated pieces. Each entry includes the title, date, medium, size, inscriptions, provenance, and exhibition and publication history of the work, as well as select commentary. The online catalogue is fully searchable and will be continuously updated as new information becomes available. Based on decades of scholarship and research, the revised Remington Catalogue Raisonné is an essential resource for scholars, collectors, museum curators, historians of the American West, and anyone seeking definitive information on the art of Frederic Remington. Frederic Remington: A Catalogue Raisonné II is published in cooperation with the Buffalo Bill Center of the West, Cody, Wyoming.

None captured the dusty feeling and spirt of the wild west like Frederic Remington, and now you can share it with others in this incredible collection.

A biography of the artist examining his complex relationship with the American West and how he expressed his imagination. Frederic Remington and the West sheds new light on the remarkably complicated and much misunderstood career of Frederic Remington. This study of the complex relationship between Remington and the American West focuses on the artist’s imagination and how it expressed itself. Ben Merchant Vorpahl considers all the dimensions of Remington’s extensive work, from journalism to fiction, sculpture, and painting. He traces the events of Remington’s life and makes extensive use of literary and art criticism and nineteenth-century American social, cultural, and military history in interpreting his work. Vorpahl reveals Remington as a talented, sensitive, and sometimes neurotic American whose work reflects with peculiar force the excitement and distress of the period between the Civil War and the Spanish-American War. Remington was not a “western” artist in the conventional sense; neither was he a historian: he lacked the historian’s breadth of vision and discipline, expressing himself not through analysis but through synthesis. Vorpahl shows that, even while Remington catered to the sometimes maudlin, sometimes jingoistic tastes of his public and his editors—his resourceful imagination was at work devising a far more demanding and worthwhile design—a composite work, executed in prose, pictures, and bronze. This body of work, as the author demonstrates, demands to be regarded as an interrelated whole. Here guilt, shame, and personal failure are honestly articulated, and death itself is confronted as the artist’s chief subject. Because Remington was so prolific a painter, sculptor, illustrator, and writer, and because his subjects, techniques, and media were so apparently diverse, the deeper continuity of his work had not previously been recognized. This study is a major contribution to our understanding of an important American artist. In addition, Vorpahl illuminates the interplay between history, artistic consciousness, and the development of America’s sense of itself during Remington’s lifetime.