Remington
(eBook)

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Published
Parkstone International, 2012.
Status
Available Online

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Format
eBook
Language
English
ISBN
9781780429991

Citations

APA Citation, 7th Edition (style guide)

Frederic Remington., & Frederic Remington|AUTHOR. (2012). Remington . Parkstone International.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Frederic Remington and Frederic Remington|AUTHOR. 2012. Remington. Parkstone International.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Frederic Remington and Frederic Remington|AUTHOR. Remington Parkstone International, 2012.

MLA Citation, 9th Edition (style guide)

Frederic Remington, and Frederic Remington|AUTHOR. Remington Parkstone International, 2012.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouping Information

Grouped Work IDc4aebc57-92b2-5cf7-71eb-382e5ebf26e9-eng
Full titleremington
Authorremington frederic
Grouping Categorybook
Last Update2023-04-05 18:45:54PM
Last Indexed2024-03-27 05:52:56AM

Book Cover Information

Image Sourcehoopla
First LoadedJul 22, 2022
Last UsedMar 2, 2024

Hoopla Extract Information

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    [synopsis] => It is impossible to reflect upon Frederic Remington's art without thinking of the merely human elements. Remington became interested in the American Indian, probably because he became interested in the active, exciting life of the American Great Plains. The Indian appealed to him not in any histrionic way, not as a figure stepped out from the pages of Hiawatha, but just as a human subject. Remington hit upon this truth when he travelled west. What he found there was majesty that he did not make, solely, an affair of Indians in war paint and feathers. Remington knew how the light of the moon or of the stars is diffused, how softly and magically it envelops the landscape. There is a sort of artistic honesty in his nocturnal studies. He never set out to be romantic or melodramatic, just to develop his affinity and closeness to nature. The beauty of the painter's motive, too, has communicated itself in his technique. His grey-green tones fading into velvety depths take on transparency, and in his handling of form he uses a touch as firm as need be. The determining influence in his career was that of the creative impulse, urging him to deal in the translation of visible things into pictorial terms.
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