American Realism. Gerry Souter

Remington (1861–1909)

      Frederic Remington, Self-Portrait on a Horse, c. 1890.

      Oil on canvas, 74.1 × 49.2 cm.

      Sid Richardson Museum, Fort Worth, Texas.

      “I paint for boys – boys from ten to seventy,” said Frederic Remington. No artist in the tradition of American Realism was more American or took to life at such a fast gallop. Sketches, water colours, oils and bronze sculptures seemed to rush from him over his all too brief career documenting the Western United States. His last name alone conjures up images of long-barrelled rifles and holstered pistols looped over bullet studded belts, the chink of spurs, the snap of a whip and the whistling arc of a braided lariat. His idea of his own epitaph was: “He knew the horse.” And that he did in hundreds of images: the American pony, mustang, thoroughbred and bronco emerged from his pen; accurate from cannon bone to throat latch, withers to barrel, the conformation of his horses was always correct. Cowboys, dudes, Native Americans, wagon masters, mule skinners and homesteaders all paraded across his sketchbooks faithful to a fault.

      Then there were the great skies, huge and cloud-washed, filled with heat or deep as the ocean above the blasted landscape of desert arroyos, wind-carved buttes and the scored trails of tumbleweed. His houses were Mexican stucco, mud brick, and lumber brought down from the high timberlines and sandpapered by never-ending dust. They were Native American tepees and settlers’ ‘soddies’ that seemed to grow from the earth with layers of grass-bound earth holding up lodge pole canvas roofs.

      Примечания

      1

      Eastman Johnson, Paintings and Drawings of the Lake Superior Ojibwe,Tweed Museum of Art, University of Minnesota Duluth, October 29, 2006 (http://www.d.umn.edu/tma)

      2

      Teresa A. Carbone, «Eastman Johnson», Magazine Antiques,November 1999

      3

      Groce & Wallace, The New York Historical Society’s Dictionary of Artists in America, Yale University Press, New Heaven, 1957

      4

      Österreichisches Central-Commitee von der Weltausstelung zu Paris 1867 (http://www.expo2000.de/expo2000/geschichte)

      5

      «The Paris Universal Exposition of 1867», New York Times, December 25, 1866

      6

      Sarah Burns, «The Courtship of Winslow Homer – Letters Reveal Relationship with Helena de Kay», Magazine Antiques, February 2002

      7

      (http://webexh

Примечания

1

Eastman Johnson, Paintings and Drawings of the Lake Superior Ojibwe,Tweed Museum of Art, University of Minnesota Duluth, October 29, 2006 (http://www.d.umn.edu/tma)

2

Teresa A. Carbone, «Eastman Johnson», Magazine Antiques,November 1999

3

Groce & Wallace, The New York Historical Society’s Dictionary of Artists in America, Yale University Press, New Heaven, 1957

4

Österreichisches Central-Commitee von der Weltausstelung zu Paris 1867 (http://www.expo2000.de/expo2000/geschichte)

5

«The Paris Universal Exposition of 1867», New York Times, December 25, 1866

6

Sarah Burns, «The Courtship of Winslow Homer – Letters Reveal Relationship with Helena de Kay», Magazine Antiques, February 2002

7

(http://webexhibits.org/pigments/indiv/overview/indianyellow.html)

8

William Mullen, «Beneath the Colour, Secrets of the Artist», Chicago Tribune, Tribune Corporation, February 29, 2008, pp. 1 et 14

9

David Tatham, Winslow Homer and the Great Forest, in the Catalogue for the Exhibition Winslow Homer: Masterworks from the Adirondacks held at the Fenimore Art Museum June 21 – September 6, 2004 in Ressource Library Magazine (http://www.fenimoreartmuseum.org)

10

William Innes Homer, Thomas Eakins: His Life and Art, Abbeville Press, 1992, p. 36

11

Lloyd Goodrich, Thomas Eakins, His Life and Work, Vol.1 Ams Pr. Inc., June 1977, p.27

12

H. Barbara Weinberg, Thomas Eakins, Philadelphia Museum of Art, 2001

13

Henry Adams, Eakins Revealed – The Secret Life of an American Artist, Oxford University Press, New York, 2005, pp. 3–5

14

Ibid, pp. 36–38

15

Jeff L. Rosenheim, “Thomas Eakins, Artist-Photographer, in the Metropolitan Museum of Art” in Thomas Eakins and the Metropolitan Museum, The Metropolitan Museum of Art, 1994, p. 45

16

Edward Lucie-Smith, American Realism, Harry Abrams, Inc. New York, 1994, p. 35

17

Ibid

18

Homer, op. cit., letter from Eakins to Edward H. Coates, September 12, 1886, p. 166

19

Elizabeth Johns, (PhD, Art Historian University of Pennsylvania), Thomas Eakins: Scenes from Modern Life, PBS (http://www.pbs.org/eakins)

20

Darrel Sewell, Thomas Eakins: Artist of Philadelphia, Philadelphia Museum of Art, 1982, p. 78

21

Adams, op. cit., pp. 42–43

22

National Gallery of Art, Still-Life Five Dollar Bill, 1877,Philadelphia Museum of Art, Alex Simpson Jr Collection, http://www.nga.gov/feature/artnation/harnett/money_1.shtm

23

Nicolai Cikovsky Jr., “Sordid Mechanics” and “Monkey Talents” – The Illusionistic Tradition, edited by Doreen Bolger, Marc Simpson and John Wilmerding, Amon Carter Museum, Metropolitan Museum of Art, Harry Abrams, Inc. New York, 1992, p. 2

24

Alfred Frankenstein, After the Hunt: William Harnett and Other American Still Life Paint