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for Frederic Remington
1861 - 1909
Frederic Remington spent his adolescence in nearby Ogdensburg and at boarding schools in Burlington, Vermont, and Worcester, Massachusetts. He attended Yale University for two years, studying drawing with John H. Niemeyer, but the 1880 death of his father prompted his withdrawal and subsequent departure for the western plains. Subsidized by his inheritance, Remington traveled to Kansas where he made an unsuccessful attempt at sheep ranching, invested in a Kansas City saloon, and painted in his free hours. A return trip to New York resulted in his 1884 marriage to Eva Caten. The two endeavored to settle in Kansas City, but lack of money forced the couple to separate; she went east, and he traveled in the Southwest.
A short time later, Remington returned to New York. Reunited with his wife in Brooklyn, he opened a New York studio and took classes at the Art Students League in 1886. Remington began to receive magazine commissions, often authoring the texts of the articles he illustrated. He specialized in western subjects, and his work brought him swift and unprecedented fame. In 1890, he moved to a studio residence in New Rochelle, NY. The artist left home and traveled west regularly, however, in search of subjects. He also made an 1892-3 trip to Europe and North Africa and served as a correspondent during the Spanish-American War.
Remington was elected an associate member of the Academy in 1891, following his third exhibition at an Academy Annual. Despite his success, however, he was never elevated to the rank of Academician. Citing academic jealousy of his popularity and the high prices his work commended, Remington quit exhibiting at the National Academy in the late 1890s. Animosity between the man and the institution continued until his death, with the Academy unwilling to elect an artist who didn't submit to the Annuals and Remington refusing to exhibit until he was elected. Nevertheless, his success continued unabated. He maintained his work in painting and also took up sculpture in the mid-1890s. In 1909 he died in Ridgefield, Connecticut, where he had recently moved.
For his associate portrait, Remington approached Benoni Irwin, agreeing upon a trade of a painting of horses for the portrait (Samuels, 159). On 28 October 1891, Irwin wrote the Academy, announcing that the painting could be shown in the Autumn Exhibition if a frame could be found. A letter from Remington indicates his concern that the painting be delivered on time. A frame was eventually found, and the portrait was exhibited, although it drew little press.
A short time later, Remington returned to New York. Reunited with his wife in Brooklyn, he opened a New York studio and took classes at the Art Students League in 1886. Remington began to receive magazine commissions, often authoring the texts of the articles he illustrated. He specialized in western subjects, and his work brought him swift and unprecedented fame. In 1890, he moved to a studio residence in New Rochelle, NY. The artist left home and traveled west regularly, however, in search of subjects. He also made an 1892-3 trip to Europe and North Africa and served as a correspondent during the Spanish-American War.
Remington was elected an associate member of the Academy in 1891, following his third exhibition at an Academy Annual. Despite his success, however, he was never elevated to the rank of Academician. Citing academic jealousy of his popularity and the high prices his work commended, Remington quit exhibiting at the National Academy in the late 1890s. Animosity between the man and the institution continued until his death, with the Academy unwilling to elect an artist who didn't submit to the Annuals and Remington refusing to exhibit until he was elected. Nevertheless, his success continued unabated. He maintained his work in painting and also took up sculpture in the mid-1890s. In 1909 he died in Ridgefield, Connecticut, where he had recently moved.
For his associate portrait, Remington approached Benoni Irwin, agreeing upon a trade of a painting of horses for the portrait (Samuels, 159). On 28 October 1891, Irwin wrote the Academy, announcing that the painting could be shown in the Autumn Exhibition if a frame could be found. A letter from Remington indicates his concern that the painting be delivered on time. A frame was eventually found, and the portrait was exhibited, although it drew little press.
