Cover

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Frontmatter

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Title Page

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Copyright Page

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Table of Contents

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List of Illustrations

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pp. xi-xii

Acknowledgments

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pp. xv-xvii

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Introduction: In the Remington Moment

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pp. 1-26

Here then, one way to begin, to be in the act of and the moment in the painting. As Jean-Louis Schefer would have it, the value of painting — what either the activity itself or its material result on canvas is “good for” — accrues from its power of transformation rather than its power of representation per se. That is, painting with value does not so much “fix,” or embalm, certain colors...

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1. Looking at Water: On Coming to the Call (1905)

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pp. 27-72

In Frederic Remington’s nocturne Coming to the Call (1905) “the silent (though not imperceptible) signs” left on the canvas suggest that the end is near, right now and right here: a spit of land ends at the water’s edge; an autumn day ends as the sun now sets and as the shadows on the water now lengthen. And too: there is the imminent end of a prey animal’s life as a solitary hunter in a birchbark canoe, camouflaged by shadows, sights his rifle...

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2. Looking at Sky: On With the Eye of the Mind (1908)

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pp. 73-118

Writing an appreciative tribute for Scribner’s Magazine about Frederic Remington’s art in the wake of the painter’s death in December 1909, Royal Cortissoz judged that toward the end of Remington’s career “came a change, one of the most interesting noted in some years past by observers of American art. Mr. Remington suddenly drew near to the end of his long pull.”1 As Remington’s...

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3. Looking at Fire: On The Hunters' Supper (c. 1909)

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pp. 119-159

On the morning of 8 September 1908, a little less than two months before that year’s presidential race between William Howard Taft and William Jennings Bryan will be decided, Frederic Remington leaves his house in New Rochelle, New York, and begins what will be a weeklong journey by rail to Cody, Wyoming. Though he will make this long trip on his own, his plan...

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4. Looking at Earth: On The Outlier (1909)

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pp. 161-201

On 26 and 28 October 1909, approximately two months before his unexpected death from peritonitis caused by a burst appendix, Frederic Remington boxed up and shipped twenty-three of his most recent paintings — including The Hunters’ Supper — to the M. M. Knoedler & Company gallery in New York. For the next month or so Remington primarily worked on his big sculpture...

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Coda: In the Remington Moment, Part Two; or The Love Call

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pp. 203-222

In Peter Handke’s 1972 novel Short Letter, Long Farewell, looking at the “even, deep-yellow” light on a bare bedroom wall as night falls in a suburban St. Louis garden “makes you remember. . . . And the longer you look at [them], the further back you remember, till you reach a point where you can’t go any further. At that point you can only stand there and dream...

Notes

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pp. 223-242

Index

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pp. 243-252