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diff --git a/old/50803-0.txt b/old/50803-0.txt deleted file mode 100644 index f61e0be..0000000 --- a/old/50803-0.txt +++ /dev/null @@ -1,1568 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Painters of Western Life, Vol -3, Num. 9, Serial No. 85, June 15, 1915, by Arthur Hoeber - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Mentor: Painters of Western Life, Vol 3, Num. 9, Serial No. 85, June 15, 1915 - -Author: Arthur Hoeber - -Release Date: December 31, 2015 [EBook #50803] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: PAINTERS *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - - THE MENTOR 1915.06.15, No. 85, - Painters of Western Life - - - - - LEARN ONE THING - EVERY DAY - - JUNE 15 1915 SERIAL NO. 85 - - THE - MENTOR - - PAINTERS - OF - WESTERN LIFE - - By ARTHUR HOEBER - Author and Artist - - DEPARTMENT OF VOLUME 3 - FINE ARTS NUMBER 9 - - TWENTY CENTS A COPY - - - - -Play the Game - -[Illustration] - - -“Suppose,” said Thomas Huxley, “it were perfectly certain that the life -and fortune of every one of us would, one day or other, depend upon -his winning or losing a game of chess. Don’t you think that we should -all consider it to be a primary duty to learn at least the names and -the moves of the pieces? Do you not think that we should look with a -disapprobation amounting to scorn upon the father who allowed his son, -or the State which allowed its members, to grow up without knowing a -pawn from a knight?” - - * * * * * - -“Yet it is a very plain and elementary truth that the life, the -fortune, and the happiness of every one of us, and more or less of -those who are connected with us, do depend upon our knowing something -of the rules of a game infinitely more difficult and complicated than -chess. It is a game which has been played for untold ages, every man -and woman of us being one of the two players in a game of his or her -own. The chessboard is the world, the pieces are the phenomena of the -universe, the rules of the game are what we call the laws of Nature.” - - * * * * * - -“The player on the other side is hidden from us. We know that his play -is always fair, just, and patient. But also we know to our cost that -he never overlooks a mistake or makes the smallest allowance for -ignorance. To the man who plays well the highest stakes are paid, with -that sort of overflowing generosity which with the strong shows delight -in strength. And one who plays ill is checkmated--without haste, but -without remorse.” - - - - -[Illustration: COURTESY KNOEDLER & CO. - -THE LAST STAND. BY FREDERIC REMINGTON] - - - - - “THE LAST STAND,” by Frederic Remington, a strong and - stirring picture of a dramatic incident in army life, - is the subject of one of the intaglio-gravure pictures - illustrating “Painters of Western Life.” - -FREDERIC REMINGTON - -Monograph Number One in The Mentor Reading Course - - -Remington’s life was as full of vigor and action as his pictures. -Outdoor life and athletic sports were always a hobby of his. When he -was at Yale he was on Walter Camp’s original football team, when Camp -was practically inventing the American game, and Remington assisted him. - -Frederic Remington was born at Canton, a little village in St. Lawrence -County, New York State, in 1861. His father, a newspaper man, wanted -to train him to follow the same profession; but Remington’s taste -for dabbing at art was too strong. In the Yale Art School he picked -up a little about art and a great deal about football. He could not -accommodate himself to college routine; so he tried life for awhile as -confidential clerk for Governor Cornell at Albany. This job was too -quiet for him; so he threw it up and went out to Montana to “punch -cows.” Remington became a downright, genuine cowboy, and his four years -in the saddle brought him the accurate, minute knowledge of horses, -Indians, cattle, and life on the plains that marks his work. - -After roughing it as a cowboy, Remington went to Kansas and started a -mule ranch, made some money at it, then wandered south, taking a turn -as ranchman, scout, guide, and in fact anything that offered. When -his money was gone his mind turned back to art. As he said, “Now that -I was poor I could gratify my inclination for an artist’s career. In -art, to be conventional, one must start out penniless.” So he made some -drawings which the Harpers accepted. The material was fresh and full of -spirit; so Remington got an order to go west and get up illustrations -for a series of articles on the life of the plains. He was lucky enough -to strike in on an Indian campaign. His success as an illustrator was -so great that he never after lacked for commissions. He even went as -far as Russia in 1892. Gradually people came to know that a new and -vigorous personality had taken his stand in the field of art, and -that his name was Frederic Remington. His sketches and paintings of -soldiers, Indians, cowboys, and trappers were full of character, and -came to be known far and wide both as illustrations and as independent -works of art. - -Remington brought all his subjects fresh from life straight to his -canvas. He lived an active outdoor life, worked hard, and was ever -seeking for new material. It was his dream to go to a real war, and in -1898 he got his chance. The well known playwright, Augustus Thomas, for -years a neighbor of Remington’s, states that he called the artist up -early one morning in February, 1898, and told him that the Maine had -been blown up and sunk. The only thanks or comment he got was a shout -from Remington, “Ring off!” As Thomas rang off he could hear Remington -call the private telephone number of his publishers in New York. At -that very minute the artist was in his mind already entered for war -service. - -The latter years of Remington’s life were spent in various trips and -in periods of quiet work in his home studio at New Rochelle, New York. -There anyone could find him--big, simple and good-natured, modest and -plain-spoken, working out his vigorous compositions in a large roomy -studio most appropriately constructed and decorated for his purpose. - -His collection of relics of all sorts and from all quarters of the -world was unique. Aside from his painting and modeling, Remington was -justly celebrated for his writing. His descriptive powers were vivid -and telling, and his stories, which fill several volumes, are full of -living interest. - -Remington died very suddenly of pneumonia on December 26, 1909. His -place in American art is unique. There is no one quite like him. He -knew his power, and he exercised it with ease and confidence. His work -was his life, and his life was with strong, primitive types of men and -with animals, all of whom he loved. The epitaph he wanted for himself -was, “He knew the Horse.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE POSSESSION OF THE ARTIST - -WILD HORSE HUNTERS. BY CHARLES M. RUSSELL] - - - - - “WILD HORSE HUNTERS,” by Charles M. Russell, a spirited - picture of an episode in the rough life of the plains, - is the subject of one of the intaglio-gravure pictures - illustrating “Painters of Western Life.” - -CHARLES M. RUSSELL - -Monograph Number Two in The Mentor Reading Course - - -Mr. Russell belongs to no established school of art. His work is -distinctly his own, and he is known as the “cowboy artist.” This does -not mean, however, that there is anything careless or hasty about his -art. He works with great care. His hand is trained to note every detail -of his subject, and he has a memory that never lets go. Several years -ago Russell had an exhibit in a gallery in New York City which he -called “Pictures of the West That Has Passed.” - -There was fine audacity in this. The man who had never taken a lesson -in an art school and had had very little opportunity to see fine art -work, who had no critic more severe than himself, took one of the big -galleries in New York City for a “one-man exhibit.” Russell had the -courage of his convictions, and his convictions were soon shared by art -lovers; for he took his place at once among the best painters of the -West. - -Charles Russell was born in St. Louis in 1865, and, like Remington, had -a deep-seated objection to the rules and routine of schools. The most -interesting thing in the school curriculum to Russell was “vacation,” -and it was his habit to add to his vacation privileges whenever he -could by playing hooky. When he was fifteen he was permitted to leave -school and go out to the great wild West, the land of his heart’s -desire, and there he began his real education. He was no delinquent in -that greater school, nor was he ever truant; for when Nature became -his teacher and all outdoors his textbook he showed himself a keen and -interested student. - -He went to Montana when life on the range was in its glory, and the -Indians were part of everyday existence. For eleven years he rode the -range by choice, doing night work that he might have daylight for -painting and modeling. He was ever possessed by a passion to reproduce -in color or in clay the rapidly shifting scenes about him, and so, day -after day and year after year, he was laying a splendid foundation for -the great work that was before him. He lived among the Indians and came -to know their inner life, their hopes and aspirations. He learned their -sign language and customs, and so is able to depict Indians as if he -were one of them. His great success has come not as a gift of the gods, -but as a well earned reward after years of hard and diligent work and -close application. - -For several years he was known in the East just for book and magazine -illustrations, usually in black and white. Then he went to New York and -made himself known as a painter. - -Mr. Russell spends little time in the East. Naturally he was gratified -that his work won for him an immediate and distinguished place; but he -was not of the mood nor had he the time to stand in the limelight. The -great West was ever beckoning him back, and every summer would find -him at some Indian reservation or roaming in the wild regions seeking -passionately for the subjects that he loved to paint on canvas or -model in clay. Other things interested him little. Russell the man is -the same as Russell the schoolboy,--indifferent to books or academic -matters, but eager for the things that have a living interest for him. -The bargain that he used to propose to his schoolmates sounded the -keynote of his life, “You get my lessons for me, and I will make you -two Indians.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: COPYRIGHT, 1901, BY CHARLES SCHREYVOGEL - -MY BUNKIE. BY CHARLES SCHREYVOGEL] - - - - - “MY BUNKIE,” by Charles Schreyvogel, a picture that made - a great sensation and brought the artist sudden fame, - is the subject of one of the intaglio-gravure pictures - illustrating “Painters of Western Life.” - -CHARLES SCHREYVOGEL - -Monograph Number Three in The Mentor Reading Course - - -“Famous overnight.” In those words Charles Schreyvogel was hailed -in 1900. The sound of the words was good and cheery; but Charles -Schreyvogel knew well enough that his fame had been much longer -than “overnight” in coming. It was only after many vicissitudes and -disheartening struggles that he came into the recognition of his -colleagues and the general public. When he did win out, however, his -victory was so complete and so enduring that he will remain always one -of the most distinguished painters of American frontier life. - -Charles Schreyvogel was a New York City boy, born in 1861, and was -educated in the public schools. He began life apprenticed to a -gold-beater, and later on was apprenticed in turn to a die-sinker and -lithographer. His pronounced artistic talents could not be denied, and -his private studies finally led up to an opportunity to go to Munich, -where at the age of twenty-five he studied for three years under Frank -Kirschbach and Carl Marr. On his return to America he went west, and -there lived for awhile the life of the plains, the mountains, the -Indian agencies, and the army barracks. He was fascinated with the -wild life of the frontier, and devoted himself eagerly to the study of -horses, Indians, and troopers in full action. - -Then began the story of “My Bunkie.” While engaged in painting -Schreyvogel was in the habit of making sketches for lithographers as -a matter of bread winning. Being sadly in need of funds, he offered -one of his paintings to a lithographer who needed a subject for a -calendar. The painting was “My Bunkie,” and Schreyvogel set great store -by it. The lithographer rejected it because it would not cut down -well to the dimensions of his calendar. Then the artist tried it out -in one place and another, and failing to get it published, he sought -permission to hang it in an East Side restaurant in New York, in the -hope that someone might become interested in it and buy it for at least -a moderate sum. To his utter discouragement he found a short time after -that his picture was not even hung in the restaurant. - -He was about to take it home and lay it away when a friend induced him -to send it to the exhibition of the National Academy of Design which -was then approaching. He did this very reluctantly; for he had no hope -in it. On the day after the exhibition Schreyvogel rubbed his eyes and -read what seemed to him a fairy tale. His picture “My Bunkie” had not -only been accepted, but was hung in the place of honor and received -the Thomas B. Clarke prize, the most important one that the National -Academy has to bestow. And so Schreyvogel became “famous overnight.” - -Schreyvogel made his home at Hoboken, New Jersey, and during the years -from 1900 until his death he painted and published many vigorous -pictures of Indian and army life on the frontier, all of them fine -in action and full of sentiment. He made an arrangement with a -photographer near his home by which his paintings were issued in fine -platinum prints. In this form, as displayed in art-store windows, they -have become familiar to the public all over the world. - -Schreyvogel died at his home in Hoboken on January 27, 1912, and in -the spring exhibition of that year the National Academy of Design, New -York, hung once again his celebrated painting of “My Bunkie” in a place -of honor as an affectionate memorial to the artist. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IN THE NATIONAL ARTS CLUB. NEW YORK CITY - -THE CALL OF THE FLUTE. BY E. IRVING COUSE] - - - - - “THE CALL OF THE FLUTE,” by E. Irving Couse, an idyl of - Indian life, is the subject of one of the intaglio-gravure - pictures illustrating “Painters of Western Life.” - -E. IRVING COUSE - -Monograph Number Four in The Mentor Reading Course - - -Scattered here and there throughout the Southwest in unfrequented -valleys along the Rio Grande and on almost inaccessible mesa (may´-sah) -tops, buried in the sandy and waterless Painted Desert, are found the -villages and fields of a people whom the early Spaniards called Pueblos -(pooeb´-lo), to distinguish them from their roving neighbors, the -plains Indians, who had neither fields nor fixed abode of any kind. -These peaceful, home-loving people lived in great houses which they -occupied in common--terraced pyramids of sun-dried bricks--and which -were both fortress and dwelling. - -It is among this interesting tribe of Indians that E. Irving Couse has -spent much of his life. He is not a native of the Far West. He was born -at Saginaw, Michigan, September 3, 1866, and went to New York for art -study in the National Academy of Design. From there he went to Paris, -and took a course in art in the Julian Academy and the School of Fine -Arts, where his masters were the great French painter Bouguereau, -T. Robert Fleury, Ferrier, and others. He returned to America and -established his studio in New York City, where he soon made himself -known. In the years from 1900 to 1902 he was elected to the American -Water Color Society, the New York Water Color Club, and the National -Academy of Design. - -About this time Mr. Couse’s interest became directed toward the life of -the Great Southwest, and he made a trip there which so fascinated him -that he continued for years to visit and study the race of the Pueblos. -These were most interesting and impressionable years. He found a life -new and full of fascination among the Pueblos of Taos (tah´-ose). - -Taos is the northernmost of the Pueblos, and consequently became the -“buffer state” between the fierce Apaches and the no less warlike -plains tribes. Warrior bands from either side, returning from a raid -into the other’s country, were sure to fall upon the inoffensive -Pueblos of Taos, either to remove the sting of defeat or to increase -the glory of victory. As a result the Indians of Taos became the most -warlike of the Pueblo tribes, and when the Mokis (mo´-ki) of northern -Arizona, long before the coming of the Spaniards under Coronado in -1640, found even their rocky mesa tops to be insufficient protection -against the marauding Navajos (nav´-a-ho) and Apaches, it was to Taos -they sent for aid. Taos planted a colony on a mesa top near them and -called it Tewa (tay´-wah). This colony exists today, and speaks the -Taos language, not that of its Moki neighbors. - -But for all that the barbaric chant of the happy worker in the -cornfields, or at evening the low flute note of the love call springs -more easily to his lips than the harsh war cry; for the Taos Indian’s -heart is in his fields and his home tucked away in a canyon of the -Sangre de Christo (sahn´-gray day kris´-to) Mountains not far from the -Rio Grande in northern New Mexico. - -Mr. Couse has followed the Indians in their hunts through the mountains -they loved so well. He has listened to the call of the flute in some -mountain glade or the player’s prayer to the god of the waters beside -some rushing stream. He has learned the Pueblos’ ways of thought and -action, and has recorded much of it on canvas. Living in such close -touch with the Pueblos, gaining and holding their faith and confidence, -watching with deep understanding the growth of his models from boyhood -to manhood, he has come as close to the spirit of the Indian as white -man ever can. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: FROM THE PAINTING IN THE COLLECTION OF DR WALTER B. JAMES - -COURTESY KNOEDLER & CO. - -THE SILENCE BROKEN BY GEORGE DE F. BRUSH] - - - - - “THE SILENCE BROKEN,” by George de Forest Brush, which - pictures the poetry of the primitive Indian nature, is - the subject of one of the intaglio-gravure pictures - illustrating “Painters of Western Life.” - -GEORGE DE FOREST BRUSH - -Monograph Number Five in The Mentor Reading Course - - -Mr. Brush is known as a painter of other subjects than those to be -found in the Far West. His portraits have great distinction. It is, -however, as one of the painters of the Great West that he is considered -here, and in that field of art he ranks among the very first. - -He was born at Shelbyville, Tennessee, in September, 1855. He studied -in Paris, and was a pupil of the great Gérôme. Some say that his work -shows the influence of his master, especially in the trim finish of -his technic and in his fondness for embodying a story in his pictures. -Unlike Gérôme, however, Brush did not search the classics nor the -life of the Far East for subjects. We find no Roman chariot races nor -scenes from Scripture on his canvases. His thoughts were always of -his country, and he found his material in the North American Indians. -In doing so he took a position among painters of western life that is -peculiarly his own. - -Mr. Brush is a thoughtful student, with a fine, poetic imagination. -Interest drew him to the Indians. His desire was to discover “in their -present condition a clue to their past.” As one appreciative critic has -put it, “he attempted to recreate the spacious, empty world in which -they lived a life that was truly primitive, unmixed with any alloy -of the white man’s bringing; and to interpret not only the externals -of their life, but its inwardness, as with mingled stolidity and -simplicity these men-children looked out upon the phenomena of nature, -fronted the mystery of death, and peered into the stirrings of their -own souls.” - -Take the very picture that accompanies this description, “The Silence -Broken,” for example. A swan has burst from a bank of foliage -immediately above the head of an Indian in a canoe. We are conscious -of the rush of sound, vibrating through the vast isolation. The Indian -looks up, but does not cease his paddling. He kneels in the boat, “a -figure of monumental composure.” It is in pictures like this that Brush -conveys in eloquent terms on canvas an impression of the solemn romance -of those primitive human creatures. - -Mr. Brush has his studio in New York City, and usually spends his -summer in New Hampshire. His work will receive attention again in The -Mentor when the portrait painters of America are considered. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: COPYRIGHT, 1912 - -COURTESY THE SNEDECOR GALLERIES, N. Y. - -AN ARGUMENT WITH THE SHERIFF. BY W. R. LEIGH] - - - - - “AN ARGUMENT WITH THE SHERIFF,” by W. R. Leigh, a - mortal encounter between a sheriff and horse thieves, - is the subject of one of the intaglio-gravure pictures - illustrating “Painters of Western Life.” - -WILLIAM R. LEIGH - -Monograph Number Six in The Mentor Reading Course - - -As the Irish would say, the best way to tell about a man is to let him -tell about himself. Mr. Leigh, who was born in West Virginia in 1866, -has been well known for years as a magazine and book illustrator, -and has lately come into a new renown as a painter of great western -pictures. He tells his own story in a very simple, straightforward way: - -“On my father’s plantation my earliest recollections,” he says, “are of -drawing animals on slate or cutting them out of paper. For one of the -latter I was awarded a prize of a dollar at a county fair, when four or -five years old. I began drawing from nature at ten, and at twelve was -awarded $100 by the great art collector, Mr. Corcoran, of Washington, -after he had seen a drawing I had made of a dog. At fourteen I went to -Baltimore and studied in the Maryland Institute for three years. I got -first awards each year in the school, and in the winter of the third -year was appointed teacher of drawing in the night school. At this time -Mr. Corcoran gave me another $100. - -“At seventeen I went to Munich, Bavaria, and worked one year under -Professor Rouffe in the antique class, then two years under Professor -Gyses in the nature class, and one year in what was called the -‘painting school,’ gaining three bronze medals altogether. - -“At this time I was forced to go back to America and start to make my -living. I spent a year in Baltimore, and saved up $300, with which I -returned to Munich and the ‘painting school.’ In the middle of the -winter when my funds were exhausted I went out looking for employment. -It was not to be had for months; but during the following spring I was -engaged by an artist to help him with some mural pictures. He did me -out of almost everything I had, and left me destitute and in debt. - -“However, sometime after this I got work with Philip Fleisch to help -him on a cyclorama which represented the Battle of Waterloo. Fleisch -found me useful enough to advance me sufficient money to get through -the year so that I might help him the following season on another -cyclorama. I entered the composition school of the Academy, painted -a picture which gained me a silver medal, the highest award in the -Academy, and an honorable mention in the Paris Salon. I sold that -picture for $1,000, and it is now in Denver, Colorado. Five more years -were occupied in painting five more cycloramas and some pictures in -between, one of which gained me a second silver medal from the Academy. - -“Overwork had by this time got me into bad health, and I returned to -New York, where I soon recovered. I worked for several years in New -York, painting many portraits, two of which hang in Washington Lee -University, also many pictures both landscape and figure, and a great -deal of magazine and book illustrating. Latterly I have turned my -attention to the Far West in response to a desire that has been in me -since boyhood.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85 - COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC. - - - - -_PAINTERS of WESTERN LIFE_ - -By ARTHUR HOEBER - -_Author and Artist_ - -[Illustration: Copyright by E. Irving Couse - -THE DRUMMER, by E. Irving Couse] - -_MENTOR GRAVURES_ - - THE LAST STAND - _By Frederic Remington_ - - WILD HORSE HUNTERS - _By Charles M. Russell_ - - MY BUNKIE - _By Charles Schreyvogel_ - - THE CALL OF THE FLUTE - _By E. Irving Couse_ - - THE SILENCE BROKEN - _By George de F. Brush_ - - AN ARGUMENT WITH THE SHERIFF - _By W. R. Leigh_ - -[Illustration] - -THE MENTOR · DEPARTMENT OF FINE ARTS · JUNE 15, 1915 - -Entered at the Post-office at New York, N. Y., as second-class matter. -Copyright, 1915, by The Mentor Association, Inc. - - -The present generation has taken its pictures of life in the Far West -mainly through the paintings of such artists as Frederic Remington, -Charles M. Russell, Charles Schreyvogel, and others who will be -referred to in this article. And yet two of these men--Remington and -Schreyvogel--who were our contemporaries are already dead, and it was -only about eighty-four years ago that the first American artists went -to the land of the setting sun to paint the Indian in his native lair. -This artist was a young Philadelphian named George Catlin, a lawyer -by profession, who was born in 1796 and died in 1872. Though trained -for the bar, his artistic tendencies were too strong for him. He set -forth in 1830, with practically no knowledge of the technic of art, -going as a guest of Governor Clark of St. Louis, then United States -superintendent of Indian affairs. Governor Clark went for the purpose -of arranging treaties with the Winnebagos, Menominees, Shawanos, Foxes, -and others, and the opportunities for young Catlin were unusual. - - -CATLIN AND CARY, THE PIONEER PAINTERS - -[Illustration: ONE OF CATLIN’S INDIANS] - -A second trip the next season inspired Catlin to still a third, in -1832, when he ascended the Missouri on a steamer, to the mouth of -the Yellowstone. He returned some two thousand miles in a canoe -with a companion, and on the trip sketches were made of the Crows, -Blackfeet, Sioux, and Iowas. It was all a revelation to Catlin, who -made a serious study of the savage as far as his artistic equipment -permitted. Subsequent trips followed, and in 1836 he accompanied a -detachment of the first regiment of Mounted Dragoons to the Comanches -and other tribes. These visits of course were at a time when the -Indians were in a primitive and picturesque condition, before the -change that was to come subsequently through association with the -whites. The result was an enormous collection of drawings and -paintings, together with many written accounts and descriptions of -manners and customs, and for years Catlin reigned supreme in a field -that no one had hitherto explored. - -Catlin, however, was far more interesting from a historical standpoint -than from any artistic conception he gave to his theme. With his -indifferent training, unfortunately, he lacked imagination. He -recorded what he saw, then a great novelty to the public; but his work -now arouses little emotion. For years, however, engravings of his -drawings, colored reproductions, and photographs were the only data for -reference, and as the artist was scrupulously correct in all details -of adornment, local color, costume and implements, manner of life and -ceremonials, his work still has considerable value. The modern men -do not by any means scorn taking a hint from him. In the Centennial -Exhibition in 1876, a great showing of Catlin’s work was more or less -in the nature of a sensation. - -The next painter of the West was William de la M. Cary, who in 1861 -made a trip across the plains with an army officer. There was still -plenty of excitement, and the traveler had to be prepared against -both wild man and beast. Mr. Cary made many sketches in the manner of -Catlin, and sent home illustrations to the magazines, occasionally -recording the humorous side of his adventures. His sketches were well -received and appreciated. - - -GEORGE DE FOREST BRUSH - -Some years ago George de Forest Brush gave considerable attention to -the life of the Indian, and signed many pictures that remain classics -in American art. Some of the themes were of the early Aztecs. Among -the titles were “The Sculptor and the King” and “Aztec Sculptor.” More -modern works were “The Silence Broken,” “Mourning Her Brave,” “Indian -Hunter,” and many more, all of them works of fine imagination and -admirable composition lines. Mr. Brush, who was born in Tennessee in -1855, was a pupil of the Paris government art school under the late -J. L. Gérôme (zhay-romé), and is a distinguished draftsman as he is -a commanding figure in American art. Of recent years, however, he has -chosen other fields in which to exploit his talent; but of all the -native painters, he has brought to his work on the Indian the best -artistic equipment of any, and of the dozen subjects of the aborigines -all are unusual, and of the highest excellence. - -[Illustration: Copyright by W. de la M. Cary - -“FORTY-NINERS” CROSSING THE PLAINS - -By William de la M. Cary] - - -REMINGTON AND THE SPIRIT OF THE WEST - -The painters of the Great West, however, were yet to come. Men were -to arrive who would catch something of the spirit of the life there, -who were to record the romance of the savage, the soldier, the cowboy; -the latter in particular,--a picturesque group of men the outcome of -peculiar conditions, men who rounded up the cattle, and were apparently -a race apart, of prodigious recklessness, hardihood, and bravery, who -lived in the saddle almost continuously, save when occasionally they -strayed into the frontier town to squander their pay. These were, as -the late Frederic Remington quaintly phrased it, “Men with the bark -on.” Remington (1861-1909) was himself to be the first of the modern -group to treat the West with artistic sympathy, and his name rises -instantly when any mention is made of the plains. First of all, the -man himself was a genuine lover of the open, of nature in its wildest -aspects. For him the horse, the prairie, the blue sky! He should have -been an army officer. He was, almost; for he accompanied the troops on -many of their campaigns and was as well known to the captains as he was -to the troopers and many of the Indians. - -[Illustration: Photo by Davis & Sanford - -FREDERIC REMINGTON] - -Somewhere about the middle ’80’s he began to send illustrations to the -various periodicals; crude affairs, as he admitted later and himself -characterized as “half-baked.” But they had that vital, convincing -touch to them that meant subsequent success. Somehow, even in his -tentative efforts, he had a vim and go that held the spectator. The -man knew his Indian, soldier, cowboy, hunter, from the ground up. -They had in them plenty of red blood, even though the first drawings -were crude. There was that about them which disclosed astonishing -feeling, clear insight into character, distinct sympathy. The public -was profoundly interested, and saw great promise. Nor was there any -disappointment; for the man made rapid progress. His Indian fairly -reeked of savagery; his soldier was an epitome of the hard-working, -modest, simple, splendid man of action; his cowboy was a picturesque -and vital character. - -It is almost pathetic to realize that so commonplace and commercial an -invention as a wire fence was the means of doing away with the cowboy. -This introduction of a cheap and effective means of coralling the -animals at one fell swoop put the cowboy out of business, destroyed -forever the usefulness of this race of picturesque, hard-riding, -reckless youth of the plains. Mr. Cowboy rides on his raids but seldom -now. - -Remington knew these cowboys well. He had mingled with them, ridden -after the herds, joined in their boisterous revels, and there came from -his brush and pencil a picturesque lot of out-of-door characters, to -the very life. Remington had camped in the open, had ridden hard and -long, had been with the United States cavalry in its expeditions, was -the intimate of the officers and men of the then little army of this -nation, and he saw history made. In all this crowd there was no more -picturesque figure, whether cowboy, Indian, or soldier, than Remington -himself. He wrote as entertainingly as he painted, and before his death -(he was stricken untimely) was to follow his beloved comrades in the -army as war correspondent to Cuba, in the Spanish War. It is nowise to -the disparagement of the men who followed Remington to say that they -were all under an everlasting debt of gratitude to him for his initial -insight into the breezy outlook on life in the Far West, and for his -way of presenting his facts. - -Remington was an indefatigable worker, constantly filling his -sketch-book with notes, and making mental memoranda of the happenings -about him. And he showed steady progress in the technic of his art, -each succeeding picture disclosing genuine advance. Nor was he content -simply with painting and drawing. He sought artistic expression in -sculpture too, modeling much during the later years of his life with -great success. Personally, the man was a delight to a host of friends, -with his inimitable stories, his genial manner, and his thorough -naturalness. One of the best known of his sculptural works is “The -Broncho Buster,” which has long been a public favorite, and been -reproduced in bronze. - - -RUSSELL, THE COWBOY ARTIST - -[Illustration: Copyright by C. M. Russell - -A DANGEROUS CRIPPLE - -By Charles M. Russell] - -There followed Remington an artist very distinctive of the soil, one -who was of the land in that he had been a veritable cowboy, knew his -West thoroughly, had lived with the Indians, spoke several of the -tribal languages, and, still more useful accomplishment, was familiar -with that picturesque, poetic, universal means of communication among -savages of the Great West, the sign language. This was Charles M. -Russell (1865). In Great Falls, Montana, where he lives and has a home -and studio, he is one of the institutions. Few travelers in that part -of this country fail to pay him a visit. They call him the “Cowboy -Painter,” and with reason; for during several years he followed that -profession. Also he lived long among the Indians, sharing their camps, -their food, riding after game, winter and summer, dwelling with them as -a brother. - -[Illustration: CHARLES M. RUSSELL - -The Cowboy Artist] - -Though he always drew pictures, he never saw the inside of an art -school, nor had he ever a teacher. Artistically, like Topsy, he _just -grew_. He cannot recollect the time when a lead pencil did not seem -part of his equipment, and he filled sketchbooks with notes. Somewhere -about 1892 he concluded to take up seriously the profession of artist, -and turned his attention to illustrative work. Among his efforts in -this direction were drawings for Stewart Edward White’s delightful -“Arizona Nights,” Emerson Hough’s “Story of the Outlaw,” and Wheeler’s -“Trail of Lewis and Clark.” - -Russell went from St. Louis, his birthplace, to Montana when he was -but a lad, so that he learned much of woodcraft and the ways of the -plainsman. Today there are few who excel him in throwing the lariat; he -is an adept with the pistol; horses are second nature to him; buffaloes -he hunted and killed by the hundred in earlier days. So it will be seen -that when Mr. Russell started in to paint the West he was reasonably -well equipped and rendered whereof he knew. - -Since some years now stern men in blue and khaki have seen to it that -the Indian is kept on his reservation; business men with the wire -fences now look after the interests of investors in ranch property; -life in the West has lost much of its picturesqueness; civilization -and order control affairs. But Russell’s memory of all these earlier -conditions remains. So distinctly were his first illustrations of the -soil that they attracted the attention of some of the English weeklies, -which made arrangements for his work. From this to painting was an easy -transition. No one was more surprised at his sudden success than the -artist himself, who had drawn these pictures because of his great love -of the work and to whom financial gain was the last consideration. - -So it came about that Mr. Russell turned his attention to compositions -of various sorts,--the lassoing of cattle, the intimate glimpses of -Indian life, the ways of the cowboys, and occasionally episodes of -army life. They were all true transcripts, painted with considerable -sympathy and enthusiasm. Many of his pictures found favor in England, -titled people of that nation hunting in the West regarding these -canvases not only entertaining but as remarkably faithful. He has -been spoken of as the painter of the “West that has Passed.” Like -Remington, Mr. Russell has attempted with no little success the task of -representing by sculpture some of the Indians and animals of the plains. - - -SCHREYVOGEL’S “MY BUNKIE” - -[Illustration: CHARLES SCHREYVOGEL] - -During the exhibition at the National Academy of Design in New York in -1900 a young painter awoke one fine morning to find himself famous. He -was a youth of German extraction by the name of Charles Schreyvogel -(1861-1912), and his painting, “My Bunkie,” was the sensation of the -display. It was an episode of the United States army campaign against -the Indians, a cavalryman rescuing his chum, whom he had drawn up on -his horse. Another painter of western life had appeared, and had made -astonishingly good. Schreyvogel followed this picture with many more -of no less excellence. He painted the life of the plains,--the Indian -hunting the buffalo, attacking settlers, at his war dance, the fighting -of the American trooper,--in short, he disclosed a fine pictorial -insight in that wild and stirring life that has now practically passed -away. - -[Illustration: Copyright, 1900, by Charles Schreyvogel. - -A HOT TRAIL - -By Charles Schreyvogel] - - -E. IRVING COUSE - -Trained in the Paris schools, E. Irving Couse (1866-), after doing some -decorative work, devoted his attention entirely to painting the Indians -of the Southwest, depicting rather the intimate life out of doors, or -at the peaceful occupation of weaving, hunting, and other distractions. -He gives these canvases a decorative treatment, and they disclose an -intimate knowledge of his subject. Mr. Couse has a studio at Taos, New -Mexico, and is represented in many public collections throughout the -country. Besides he has had many medals and honors. - - -PAINTERS OF PLAIN AND FOREST - -Another artist to paint the same sort of subject with distinguished -success is Ernest L. Blumenschein (1874-), who began as an illustrator, -and after work at portraiture became interested in the life of the -Indian. He too went some years ago to Taos, where quite a colony of -painters assembled. His first important picture to attract attention -was his “Wiseman, Warrior, and Youth,” a group of three characteristic -red men. Both Mr. Couse and Mr. Blumenschein may be said to represent -the “tame” Indian; for all their canvases depict the savages at -peaceful occupations. - -W. Herbert Dunton is still another of the Taos colony, where he paints -much of the year; though he gives attention to illustrative work -as well. He has seized upon the characteristics of the Indian with -artistic fidelity. - -[Illustration: E. IRVING COUSE - -In His Studio] - -In a similar manner N. C. Wyeth, both in painting and in illustrative -work, has been no less successful. Mr. Wyeth was a pupil of the late -Howard Pyle, whose influence is felt strongly in his work. - -Other pupils of that noted illustrator have attained distinctive -positions in portraying varied forms of Western life. The legends -and traditions of the Indian have attracted Remington Schuyler. The -pictorial aspect of his active life in the open, together with his -contact with wild animal life, has supplied subjects for Philip -Goodwin; while the life of the frontiersman and the pioneer has -inspired the sturdy work of Allen True and Harvey Dunn. These five men -have pictured the West in the same large spirit in which their master -worked in rendering the buccaneers of the sea and the continental -soldier. Most of the painters of the West have been illustrators first -and painters later. - -At Cody, Wyoming, for a large part of the year lives William R. Leigh. -He was born in West Virginia in 1866. He was a pupil of the Munich art -schools, and received medals in Paris. He has painted much of the West -that has passed,--of Indian and soldier, of settler and cowboy, of some -of the battles of the ’60’s between the United States troops and the -savages,--and has given some of the wonderful landscape backgrounds, -devoting no less attention to the extraordinary local color than to the -figure. - -[Illustration: THE HOUSE OF E. IRVING COUSE - -At Taos, New Mexico] - -Edward W. Deming, who has both painted and modeled the Indian, executed -some years ago a large decoration for the home of Mrs. E. H. Harriman, -at Arden, New York, with the title “The Hunt,” showing the red men -after big game. Similarly Maynard Dixon has executed decorative work of -the Indian for some California homes. His training was through several -years of illustrative work for the magazines, and in this work he -always had a distinctly decorative composition of his subject, though -his rendering was realistic and virile. - -[Illustration: WISEMAN, WARRIOR, YOUTH - -By E. L. Blumenschein] - -Howard McCormack, who studied the Southwest as far as Mexico, has also -given attention to decorative work with the Indian for his theme. -Another who began as illustrator is J. N. Marchand, who now paints the -story-telling picture of the prospector and the cowboy. He knows well -his types and the color of their setting. The name of De Cost Smith is -frequently signed to strong Indian pictures. His “Defiance,” a group -of Indian warriors on the crest of a hill, shown a dozen years ago, -had great vitality and beauty. Louis Aitken was one who had much of -that vitality and beauty--but he passed away too early for great fame. -Another who is now known in mural work, W. de Leftwith Dodge, began -his career in Paris by showing in the Salon the “Death of Minnehaha” -and “Burial of a Brave,” subjects novel to that old art center. In -recent water color exhibitions still another illustrator, Frank Tenney -Johnson, has had many distinguished showings of the present day Indian. -His oil paintings, too, are full of the poetry of the open. Moonlight -and sun-glare are to him equally alluring. Two painters who glory -in showing vast sketches of the open, who use the human figure, but -minimize it in their pictures, are Frank Vincent Du Mond and Fernand -Lungren, both permanent residents of the Southwest. - -[Illustration: E. L. BLUMENSCHEIN] - -All painters of the West regard that country and its life with a deep -reverence, and this feeling shows in their work. “God’s Country,” -though the familiar phrase of all, expresses their enthusiasm and their -devotion. In subject it is the most distinctly American of all themes, -and enthusiasm for the theme will go on producing the technical skill -to render it adequately. - -Some of these later men bring to their work a technical skill perhaps -not possessed by the earlier men. Yet with this they lack some of -the convincing quality of the pioneers. For remaining traces of the -picturesque the painter of today goes to New Mexico, where he finds -even more color than farther north; but there he has to portray the -arts of peace rather than those of war. Who shall say his theme is no -less satisfactory and inspiring? Certainly not we who have lived to see -the art of combat brought up to the nth power! - -[Illustration: Copyright, The Knapp Company, N. Y. - -CUSTER’S LAST STAND - -By W. H. Dunton] - -[Illustration: W. H. DUNTON - -The Painter of the Plains at Work] - - -THE INDIAN AS AN ART SUBJECT - -There is still infinite opportunity to make the subject of the Indian -an important factor in American art. His decorative costume gives an -element of color, while his life of action gives rhythm and movement, -and the background of prairie and mountain provides dignity and -grandeur for the composition. In but little of the mural work has -this opportunity been used, though some of the decoration of state -capitols has included isolated instances--Douglas Volk in the Minnesota -capitol being one. Lawrence C. Earle has decorated a bank building with -scenes of pioneer days. Ralph Blakelock, one of the most individual -of painters, in his best period pictured the Indian. Elbridge A. -Burbank has made many paintings of types and representatives of -various tribes--since 1897 over 125 portraits. H. F. Farny, who did -fine illustrative work in the ’80’s, has been one of the most prolific -painters of the Indian subject. Two of his best are “The Silent Guest” -and “Renegade Apaches.” Joseph Henry Sharp has also been a tremendous -producer of the western life picture. He has painted nearly one -hundred portraits of Indians and Indian pictures for the University of -California and eleven Indian portraits for the Smithsonian Institution, -Washington. - -Sculptors have made ample use of the Indian as a subject. His muscular -development, as well as his stoicism, is a monumental quality akin to -certain aspects in the Egyptians. - -[Illustration: Copyright, 1914 - -Courtesy Snedecor & Co. - -THE ROPING - -By W. R. Leigh] - - -SUPPLEMENTARY READING - - CROOKED TRAILS _By Frederic Remington_ - - JOHN ERMINE OF THE YELLOWSTONE _By Frederic Remington_ - - MEN WITH THE BARK ON _By Frederic Remington_ - - PONY TRACKS _By Frederic Remington_ - - STORIES OF PEACE AND WAR _By Frederic Remington_ - - SUNDOWN LEFLARE, Short Stories _By Frederic Remington_ - - THE WAY OF AN INDIAN _By Frederic Remington_ - -All of these books are descriptions and stories of life in the Great -West as Remington saw it. They are all illustrated by the artist and -author. - - GOOD HUNTING AND PURSUIT OF BIG GAME IN THE WEST _By - Theodore Roosevelt_ - - HUNTING TRIPS OF A RANCHMAN _By Theodore Roosevelt_ - - RANCH LIFE AND THE HUNTING TRAIL _By Theodore Roosevelt_ - Illustrated by Frederic Remington - - MY BUNKIE AND OTHERS A volume of pictures by Charles - Schreyvogel - - RECOLLECTIONS OF FREDERIC REMINGTON _By Augustus Thomas_ - Century Magazine, July, 1913. - - - - -THE OPEN LETTER - - -[Illustration: BUFFALO HUNT. By George Catlin] - -In the art of “The Painters of Western Life,” the artist himself plays -an important part. Remington, Schreyvogel, Russell, and the rest -were explorers and discoverers. Someone has said that Remington was -essentially a reporter, that he never became a “painter’s painter,” -but that he was the people’s favorite through the subjects he chose. -The phrase, “art for art’s sake,” fades into the background as these -vivid pictures of life in the Great West blaze out on the canvas. -Every stroke of the brushes of these men shows that they lived and did -things, and that they were more concerned about reporting results than -about methods. - - * * * * * - -Some of the earlier attempts to picture the West are crude, and -scarcely to be classed as art. The name of Catlin is not even mentioned -in two of the leading standard works on American painting. He was not -a professional artist: he was a lawyer, and he set out to explore -the West and to report on the conditions that he found there. His -pictures, therefore, though not reckoned with as art productions, are -most valuable records. The accompanying illustration, showing an Indian -buffalo hunt, is an example. The scene itself is now a part of past -history. We don’t _hunt_ buffaloes any more: we _collect_ them, and we -regard ourselves as very fortunate today in possessing herds of buffalo -gathered and fostered by the public spirited liberality of Mr. William -C. Whitney and Mr. Austin Corbin. - -Catlin was followed into the West by men who knew much more about art -than he; but the object they all sought was the same. Each one of them -had stories to tell of the Redman and his life and habits, of the -fights and friendships of cavalrymen, of the adventures of cowboys, -and in their pictures these subjects were more to them than the purely -artistic qualities displayed in their representation. There is, of -course, much to admire in their art. Their execution is vigorous, -direct and sure. But the historical value of their paintings makes -fully as strong an appeal to us as their art interest. - - * * * * * - -The eminent art critic, Samuel Isham, characterized Remington as an -illustrator rather than a painter. “The authoritative chronicler,” -he said, “of the whole western land, from Assiniboine to Mexico, and -of all men and beasts dwelling therein, is Frederic Remington. He, -at least, cannot be said to have sacrificed truth to grace. The raw, -crude light, the burning sand, the pitiless blue sky, surround the -lank, sunburned men who ride the rough horses, and fight, or drink, or -herd cattle, as the case may be.” Mr. Isham points out that the work -of these men might actually lose something of their force if their -pictures were completer and more finished. Their paintings are bold, -brilliant records, and their assembled works might well be classed -under the title that Russell gave to his own collection: “Pictures of a -West That Has Passed.” - -[Illustration: W. D. 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