Self-portrait, 1890, Oil on canvas, 29 3/16 x 19 3/8 inches.

Football – A Collision at the Ropes, Illustration for Harper’s Weekly, November, 1890

The Old Stage-Coach of the Plains, Jan. 1902, Color half-tone photolithograph Amon Carter Museum, Fort Worth, Texas, Gift of James Graham & Sons, New York, New York to Amon G. Carter, 1946 Remington worked as an illustrator for western magazines that sold mainly in the East. His first break came when his friend, future president Theodore Roosevelt, commissioned Remington to illustrate his nonfiction work Ranch Life and the Hunting Trail (1896)

The Old Stage-Coach of the Plains, 1901 Oil on canvas Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection This is one of Remington’s most dramatic nighttime scenes. We can image the danger of travelling by night in the West of the 1880s.

Charge of the Rough Riders at San Juan Hill, 1898

The Episode of the Buffalo Hunt, 1895 What type of mood has the artist painted? In what part of the landscape is the action taking place? How does that effect the mood? What story does this scene tell? What do you think will happen next? How did the artist create movement?

The Cowboy, 1902 Oil on canvas Amon Carter Museum, Fort Worth, Texas Frederic Remington loved to ride and draw horses from the time he was a boy. Remington asked that his tombstone read: “He knew the horse.”

A Dash for the Timber, 1889 Oil on canvas Amon Carter Museum of American Art, Fort Worth, Texas, Amon G. Carter Collection

The Fall of the Cowboy, 1895, Oil on canvas, 25 x 35 1/8 inches, Amon Carter Museum of American Art

The Scout: Friends or Foes? 1905

The Emigrants, 30” x 45”, 1904

The Apache

The Grass Fire, 1908 Oil on canvas Amon Carter Museum, Fort Worth, Texas

The Broncho Buster, 1895 Bronze Amon Carter Museum, Fort Worth, Texas “Only those who have ridden a bronco the first time it was saddled, or have lived through a railroad accident, can form any conception of the solemnity of such experiences. Few Eastern people appreciate the sky-rocket bounds, grunts, and stiff-legged striking.”

The Stampede, 1909, Bronze, Amon Carter Museum, Fort Worth, Texas “He is, of course, one of the most typical American artists we have ever had, and he has portrayed a most characteristic and yet vanishing type of American life. The soldier, the cowboy and rancher, the Indian, the horses and the cattle of the plains, will live in his pictures and bronzes, I verily believe, for all time.” Theodore Roosevelt, Pearson’s Magazine in 1907