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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #50803 (https://www.gutenberg.org/ebooks/50803)
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-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. Moffat
-
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-
-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
-
-
-
-
-
-
-</pre>
-
-
-<h1>THE MENTOR 1915.06.15, No. 85,<br />
-Painters of Western Life</h1>
-
-<div class="figcenter" style="width: 493px;">
-<img src="images/cover.jpg" width="493" height="700" alt="Cover page" />
-</div>
-
-<div class="bbox" style="width: 25em; margin: auto;">
-
-<p class="center gesperrt smaller">LEARN ONE THING
-EVERY DAY</p>
-
-<p class="smaller noindent">JUNE 15 1915</p>
-
-<p class="right smaller noindent" style="margin-top: -2em;">SERIAL NO. 85</p>
-
-<p class="center"><span class="larger">THE<br />
-MENTOR</span><br />
-<br />
-PAINTERS<br />
-OF<br />
-WESTERN LIFE</p>
-
-<p class="center smaller">By ARTHUR HOEBER<br />
-Author and Artist</p>
-
-<p class="smaller noindent">DEPARTMENT OF<br />
-FINE ARTS</p>
-
-<p class="right smaller noindent" style="margin-top: -3em;">VOLUME 3<br />NUMBER 9</p>
-
-<p class="center smaller">TWENTY CENTS A COPY</p>
-
-</div>
-
-<div class="bbox">
-
-<h2>Play the Game</h2>
-
-<div class="figcenter" style="width: 100px;">
-<img src="images/book.jpg" width="100" height="97" alt="(decorative)" />
-</div>
-
-<p>“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?”</p>
-
-<div class="figcenter" style="width: 100px;">
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-</div>
-
-<p>“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.”</p>
-
-<div class="figcenter" style="width: 100px;">
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-</div>
-
-<p>“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&mdash;without haste, but without remorse.”</p>
-
-</div>
-
-<hr />
-
-<div class="figcenter" style="width: 650px;">
-
-<img src="images/plate1.jpg" width="650" height="460" alt="" />
-
-<p class="captionleft">COURTESY KNOEDLER &amp; CO.</p>
-
-<p class="caption">THE LAST STAND. <span class="smcap">By Frederic Remington</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-t.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>FREDERIC REMINGTON</h2>
-
-<p class="centerbold">Monograph Number One in The Mentor Reading Course</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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&mdash;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.</p>
-
-<p>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.</p>
-
-<p>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.”</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="figcenter" style="width: 650px;">
-
-<img src="images/plate2.jpg" width="650" height="460" alt="" />
-
-<p class="captionright">IN THE POSSESSION OF THE ARTIST</p>
-
-<p class="caption">WILD HORSE HUNTERS. <span class="smcap">By Charles M. Russell</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-w.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>CHARLES M. RUSSELL</h2>
-
-<p class="centerbold">Monograph Number Two in The Mentor Reading Course</p>
-
-<p>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.”</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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,&mdash;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.”</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="figcenter" style="width: 650px;">
-
-<img src="images/plate3.jpg" width="650" height="460" alt="" />
-
-<p class="captionleft">COPYRIGHT, 1901, BY CHARLES SCHREYVOGEL</p>
-
-<p class="caption">MY BUNKIE. <span class="smcap">By Charles Schreyvogel</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-m.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>CHARLES SCHREYVOGEL</h2>
-
-<p class="centerbold">Monograph Number Three in The Mentor Reading Course</p>
-
-<p>“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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.”</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="figcenter" style="width: 475px;">
-
-<img src="images/plate4.jpg" width="475" height="650" alt="" />
-
-<p class="captionright">IN THE NATIONAL ARTS CLUB. NEW YORK CITY</p>
-
-<p class="caption">THE CALL OF THE FLUTE. <span class="smcap">By E. Irving Couse</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-t.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>E. IRVING COUSE</h2>
-
-<p class="centerbold">Monograph Number Four in The Mentor Reading Course</p>
-
-<p>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&mdash;terraced pyramids of sun-dried
-bricks&mdash;and which were both fortress
-and dwelling.</p>
-
-<p>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.</p>
-
-<p>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).</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="figcenter" style="width: 475px;">
-
-<p class="captionright">FROM THE PAINTING IN THE COLLECTION OF DR WALTER B. JAMES</p>
-
-<img src="images/plate5.jpg" width="475" height="650" alt="" />
-
-<p class="captionleft">COURTESY KNOEDLER &amp; CO.</p>
-
-<p class="caption">THE SILENCE BROKEN <span class="smcap">By George De F. Brush</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-t.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>GEORGE DE FOREST BRUSH</h2>
-
-<p class="centerbold">Monograph Number Five in The Mentor Reading Course</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.”</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="figcenter" style="width: 650px;">
-
-<img src="images/plate6.jpg" width="650" height="460" alt="" />
-
-<p class="captionleft">COPYRIGHT, 1912</p>
-
-<p class="captionright" style="margin-top: -1.75em;">COURTESY THE SNEDECOR GALLERIES, N. Y.</p>
-
-<p class="caption">AN ARGUMENT WITH THE SHERIFF. <span class="smcap">By W. R. Leigh</span></p>
-
-<div>
-<img class="dropcap" src="images/dropcap-fancy-a.jpg" width="100" height="100" alt="" />
-</div>
-
-<p class="dropcap">“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.”</p>
-
-</div>
-
-<h2>WILLIAM R. LEIGH</h2>
-
-<p class="centerbold">Monograph Number Six in The Mentor Reading Course</p>
-
-<p>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:</p>
-
-<p>“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.</p>
-
-<p>“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.</p>
-
-<p>“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.</p>
-
-<p>“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.</p>
-
-<p>“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.”</p>
-
-<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br />
-ILLUSTRATION FOR THE MENTOR. VOL. 3. No. 9. SERIAL No. 85<br />
-COPYRIGHT, 1915, BY THE MENTOR ASSOCIATION, INC.</p>
-
-<hr />
-
-<div class="blockquote" style="width: 50em; margin: auto;">
-
-<h2><i><span class="u">PAINTERS of WESTERN LIFE</span></i></h2>
-
-<p class="centerbold">By ARTHUR HOEBER</p>
-
-<p class="centerbold"><i>Author and Artist</i></p>
-
-<div class="figleft" style="width: 300px;">
-
-<img src="images/illus15.jpg" width="300" height="238" alt="" />
-
-<p class="captionleft">Copyright by E. Irving Couse</p>
-
-<p class="caption">THE DRUMMER, by E. Irving Couse</p>
-
-</div>
-
-<div class="figright">
-
-<p class="center"><i>MENTOR GRAVURES</i></p>
-
-<ul>
-<li>THE LAST STAND<br /><i>By Frederic Remington</i></li>
-<li>WILD HORSE HUNTERS<br /><i>By Charles M. Russell</i></li>
-<li>MY BUNKIE<br /><i>By Charles Schreyvogel</i></li>
-<li>THE CALL OF THE FLUTE<br /><i>By E. Irving Couse</i></li>
-<li>THE SILENCE BROKEN<br /><i>By George de F. Brush</i></li>
-<li>AN ARGUMENT WITH THE SHERIFF<br /><i>By W. R. Leigh</i></li>
-</ul>
-
-<div class="figcenter" style="width: 30px;">
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-</div>
-
-</div>
-
-<p class="center clearboth">THE MENTOR · DEPARTMENT OF FINE ARTS · JUNE 15, 1915</p>
-
-<p class="center smaller">Entered at the Post-office at New York, N. Y., as second-class matter. Copyright, 1915, by The Mentor Association, Inc.</p>
-
-</div>
-
-<p>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&mdash;Remington and
-Schreyvogel&mdash;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.</p>
-
-<h3>CATLIN AND CARY, THE PIONEER PAINTERS</h3>
-
-<div class="figleft" style="width: 209px;">
-
-<img src="images/illus16.jpg" width="209" height="300" alt="" />
-
-<p class="caption">ONE OF CATLIN’S INDIANS</p>
-
-</div>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<h3>GEORGE DE FOREST BRUSH</h3>
-
-<p>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.</p>
-
-<div class="figcenter" style="width: 400px;">
-
-<img src="images/illus17.jpg" width="400" height="247" alt="" />
-
-<p class="captionleft">Copyright by W. de la M. Cary</p>
-
-<p class="caption">“FORTY-NINERS” CROSSING THE PLAINS</p>
-
-<p class="caption">By William de la M. Cary</p>
-
-</div>
-
-<h3>REMINGTON AND THE SPIRIT OF THE WEST</h3>
-
-<p>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,&mdash;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.</p>
-
-<div class="figleft" style="width: 182px;">
-
-<img src="images/illus18.jpg" width="182" height="300" alt="" />
-
-<p class="captionleft">Photo by Davis &amp; Sanford</p>
-
-<p class="caption">FREDERIC REMINGTON</p>
-
-</div>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<h3>RUSSELL, THE COWBOY ARTIST</h3>
-
-<div class="figcenter" style="width: 400px;">
-
-<img src="images/illus19a.jpg" width="400" height="265" alt="" />
-
-<p class="captionleft">Copyright by C. M. Russell</p>
-
-<p class="caption">A DANGEROUS CRIPPLE</p>
-
-<p class="caption">By Charles M. Russell</p>
-
-</div>
-
-<p>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.</p>
-
-<div class="figleft" style="width: 253px;">
-
-<img src="images/illus19b.jpg" width="253" height="300" alt="" />
-
-<p class="caption">CHARLES M. RUSSELL</p>
-
-<p class="caption">The Cowboy Artist</p>
-
-</div>
-
-<p>Though he always drew pictures, he
-never saw the inside of an art school,
-nor had he ever a teacher. Artistically,
-like Topsy, he <i>just grew</i>. 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.”</p>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>So it came about that Mr. Russell turned his attention to compositions
-of various sorts,&mdash;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.</p>
-
-<h3>SCHREYVOGEL’S “MY BUNKIE”</h3>
-
-<div class="figright" style="width: 154px;">
-
-<img src="images/illus20.jpg" width="154" height="300" alt="" />
-
-<p class="caption">CHARLES SCHREYVOGEL</p>
-
-</div>
-
-<p>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,&mdash;the Indian
-hunting the buffalo, attacking settlers, at his war dance, the fighting of the
-American trooper,&mdash;in short, he disclosed a fine pictorial insight in that
-wild and stirring life that has now practically passed away.</p>
-
-<div class="figleft" style="width: 298px;">
-
-<img src="images/illus21.jpg" width="298" height="400" alt="" />
-
-<p class="captionleft">Copyright, 1900, by Charles Schreyvogel.</p>
-
-<p class="caption">A HOT TRAIL</p>
-
-<p class="caption">By Charles Schreyvogel</p>
-
-</div>
-
-<h3>E. IRVING COUSE</h3>
-
-<p>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.</p>
-
-<h3>PAINTERS OF PLAIN
-AND FOREST</h3>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<div class="figright" style="width: 187px;">
-
-<img src="images/illus22a.jpg" width="187" height="300" alt="" />
-
-<p class="caption">E. IRVING COUSE</p>
-
-<p class="caption">In His Studio</p>
-
-</div>
-
-<p>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.</p>
-
-<p>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.</p>
-
-<p>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,&mdash;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,&mdash;and has given some
-of the wonderful landscape backgrounds,
-devoting no less attention to the extraordinary
-local color than to the figure.</p>
-
-<div class="figleft" style="width: 214px;">
-
-<img src="images/illus22b.jpg" width="214" height="300" alt="" />
-
-<p class="caption">THE HOUSE OF E. IRVING COUSE</p>
-
-<p class="caption">At Taos, New Mexico</p>
-
-</div>
-
-<p>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.</p>
-
-<div class="figright" style="width: 300px;">
-
-<img src="images/illus23b.jpg" width="300" height="300" alt="" />
-
-<p class="caption">WISEMAN, WARRIOR, YOUTH</p>
-
-<p class="caption">By E. L. Blumenschein</p>
-
-</div>
-
-<p>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&mdash;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.</p>
-
-<div class="figleft" style="width: 281px;">
-
-<img src="images/illus23a.jpg" width="281" height="300" alt="" />
-
-<p class="caption">E. L. BLUMENSCHEIN</p>
-
-</div>
-
-<p>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.</p>
-
-<p>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!</p>
-
-<div class="figcenter" style="width: 500px;">
-
-<img src="images/illus24a.jpg" width="500" height="340" alt="" />
-
-<p class="captionleft">Copyright, The Knapp Company, N. Y.</p>
-
-<p class="caption">CUSTER’S LAST STAND</p>
-
-<p class="caption">By W. H. Dunton</p>
-
-</div>
-
-<div class="figleft" style="width: 300px;">
-
-<img src="images/illus24b.jpg" width="300" height="300" alt="" />
-
-<p class="caption">W. H. DUNTON</p>
-
-<p class="caption">The Painter of the Plains at Work</p>
-
-</div>
-
-<h3>THE INDIAN AS AN ART
-SUBJECT</h3>
-
-<p>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&mdash;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&mdash;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.</p>
-
-<p>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.</p>
-
-<div class="figcenter" style="width: 297px;">
-
-<img src="images/illus25.jpg" width="297" height="400" alt="" />
-
-<p class="captionleft">Copyright, 1914 Courtesy Snedecor &amp; Co.</p>
-
-<p class="caption">THE ROPING</p>
-
-<p class="caption">By W. R. Leigh</p>
-
-</div>
-
-<h3>SUPPLEMENTARY READING</h3>
-
-<div class="figleft" style="width: 45%">
-
-<ul>
-<li>CROOKED TRAILS<br />
-<i>By Frederic Remington</i></li>
-
-<li>JOHN ERMINE OF THE YELLOWSTONE<br />
-<i>By Frederic Remington</i></li>
-
-<li>MEN WITH THE BARK ON<br />
-<i>By Frederic Remington</i></li>
-
-<li>PONY TRACKS<br />
-<i>By Frederic Remington</i></li>
-
-<li>STORIES OF PEACE AND WAR<br />
-<i>By Frederic Remington</i></li>
-
-<li>SUNDOWN LEFLARE, Short Stories<br />
-<i>By Frederic Remington</i></li>
-
-<li>THE WAY OF AN INDIAN<br />
-<i>By Frederic Remington</i></li>
-</ul>
-
-<p>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.</p>
-
-</div>
-
-<div class="figright" style="width: 45%">
-
-<ul>
-<li>GOOD HUNTING AND PURSUIT OF BIG
-GAME IN THE WEST<br />
-<i>By Theodore Roosevelt</i></li>
-
-<li>HUNTING TRIPS OF A RANCHMAN<br />
-<i>By Theodore Roosevelt</i></li>
-
-<li>RANCH LIFE AND THE HUNTING TRAIL<br />
-<i>By Theodore Roosevelt</i><br />
-Illustrated by Frederic Remington</li>
-
-<li>MY BUNKIE AND OTHERS<br />
-A volume of pictures by Charles Schreyvogel</li>
-
-<li>RECOLLECTIONS OF FREDERIC REMINGTON<br />
-<i>By Augustus Thomas</i><br />
-Century Magazine, July, 1913.</li>
-</ul>
-
-</div>
-
-<hr />
-
-<div class="bordered">
-
-<div class="figleft" style="width: 30px;">
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-</div>
-
-<div class="figright" style="width: 30px;">
-<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" />
-</div>
-
-<h2 style="clear:none;">THE OPEN LETTER</h2>
-
-</div>
-
-<div class="figcenter" style="width: 400px;">
-
-<img src="images/illus26.jpg" width="400" height="253" alt="" />
-
-<p class="caption">BUFFALO HUNT. By George Catlin</p>
-
-</div>
-
-<p>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.</p>
-
-<div class="figcenter" style="width: 100px;">
-<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" />
-</div>
-
-<p>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 <i>hunt</i> buffaloes any more: we
-<i>collect</i> 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.</p>
-
-<p>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.</p>
-
-<div class="figcenter" style="width: 100px;">
-<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" />
-</div>
-
-<p>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.”</p>
-
-<div class="figright" style="width: 200px;">
-<img src="images/signature.jpg" width="200" height="94" alt="(signature)" />
-
-<p class="caption">W. D. Moffat<br />
-<span class="smcap">Editor</span></p>
-</div>
-
-<hr />
-
-<div class="bbox">
-
-<p class="center larger">Let Your Friends Share
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-in The Mentor
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-numbers a year.</p>
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-<p class="hanging">2&mdash;A beautiful art collection for the home&mdash;one
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-<pre>
-
-
-
-
-
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