Frederic Remington: The Color of Night ; [National Gallery of Art, Washington, 13 April - 13 July 2003 ; The Gilcrease Museum, Tulsa, Oklahoma, 10 August - 9 November 2003 ; The Denver Art Museum, 13 December 2003 - 14 March 2004]
Nancy K. Anderson, Frederic Remington, William Sharpe
National Gallery of Art, Washington, 2003 - Art - 228 pages
In the decade preceding his untimely death, Frederic Remington (1861-1909) produced a series of paintings that took as their subject the color of night. This richly illustrated volume is the first to present all of these works--some seventy paintings that secured for Remington the critical acclaim he so coveted. Indeed, these magnificent nocturnes marked an important new direction for the celebrated illustrator, writer, and sculptor of America's vanishing frontier.
In these deeply personal works, Remington explored the technical and aesthetic difficulties of painting darkness. Surprisingly, his images are filled with color and light--moonlight, firelight, candlelight. Focused on the subject the artist had made his own--the American West--these paintings reflect Remington's dramatic reworking of the narrative tradition as well as the spare modernism of his late work.
Frederic Remington: The Color of Night, accompanying the first exhibition devoted to the nocturnes, includes three insightful essays discussing Remington's nocturnes within the literary, historical, aesthetic, and technological context of his time. The nocturnes do much more than document a night that was rapidly disappearing under bright, newly installed electric lights. They also reveal how this son of a Civil War hero moved from burnishing Theodore Roosevelt's rough riding heroics in Cuba to exploring, like Stephen Crane and Ernest Hemingway, his own soul-searing war experience, and, like Joseph Conrad, to probing America's own heart of darkness.
As the definitive resource on Remington's nocturnes, this volume pairs large reproductions of these stunning paintings--including newly conserved works and others not seen publicly since the artist's death--with commentary from his personal diaries and letters and from contemporary critics.
National Gallery of Art, Washington
The Gilcrease Museum, Tulsa, Oklahoma
Denver Art Museum
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