In the Remington Moment

Index

Index Page references in italics refer to illustrations absorption, 16, 115, 188, 189–90 Analysis of Beauty (Hogarth), 235n38 Anderson, Nancy K., 178, 238n4; Frederic Remington: The Color of Night, 5, 227n5; on Remington’s “psychological disquiet,” 17, 224n10, 232n11; on Spanish-American War’s impact on Remington, 230n29, 232n11, 238n6 animals: animal calling motif, 48, 53–54; animal king motif, 59–60, 63–64, 68, 84; anthropocentric view of, 52–53; Freudian symbolism of, 229n22; human-animal relationship motif, 29–30, 55, 103, 152, 156, 199, 222; hunting calls to, 47–52, 49, 53, 54–55 The Anthropology of Turquoise (Meloy), 196 Austin, Mary, 116 Australia, 212 “Baby It’s You (Sha la la la la!),” (The Shirelles) 219–20 Bachelard, Gaston, 20, 21, 88, 224–25n11 Bacheller, Irving, 100 Ballinger, James K., 231n11, 239n8 Barnum, P. T., 106 Bateson, Gregory: Steps to an Ecology of Mind, 101 Beck, John W., 121–22, 127, 128, 130, 147–48 Benjamin, Walter, 24, 115; The Origin of German Tragic Drama, 101, 109; “The Work of Art in the Age of Mechanical Reproduction,” 16 Berger, John: The Sense of Sight, 95–96, 98 Bettelheim, Bruno, 229n22 Boas, Franz, 109 Bodies and Machines (Seltzer), 106–7, 234n33 A Book-Lover’s Holidays in the Open (Roosevelt), 57 Bradley, Will, 77 Brolley, Al, 163, 164–65 Brown, Bill, 115–16, 234 Browne, Thomas: The Gardens of Cyrus, 66 Bryan, William Jennings, 121 Buffalo Bill. See Cody, William F. Byron, Lord, 187 The Call of the Wild (London), 47, 54–55 Carpenter, Joan, 178 Casey, Lieutenant Edward, 126 Cather, Willa: The Professor’s House, 116 Catlin, George, 8, 9, 10, 12, 14, 15 Century Illustrated Monthly Magazine, 43 Cezanne, Paul, 188 Chase, William Merritt, 169 Cicero: De Oratore, 74 Civil War, 42–43 Clarke, Powhatan, 234n33 Cline, Patsy, 218–19 Index 244 The Complete Poetical Works of Sir Walter Scott, 88 Condorcet, Marquis de, 92 Cooke, Sam, 218–19 Cooper, James Fenimore, 196 Corcoran Gallery, 76 Cortissoz, Royal, 63, 75, 76, 80; on Remington’s death, 76, 79, 163 Cosmopolitan, 48 The Craftsman, 78, 80, 177 Crary, Jonathan, 187–88, 189 Crooked Trails (Remington), 39, 42, 89, 143 Crusoe, Robinson, 145 Cuba, 89–90, 156, 230n29, 232n11, 234n33, 238n6 Current Literature, 79 Curtis, Edward S.: The Sioux, 181 Cushing, Frank Hamilton, 12 Custer, George Armstrong, 126, 131 Dances with Wolves, 185 Davis, Charles Belmont, 43 De Oratore (Cicero), 74 depersonalization, 191 de Piles, Roger: Cours de peinture par principles, 29, 31, 32, 33 derealization, 179, 181, 185, 188–89 Dillard, Annie: Pilgrim at Tinker Creek, 47 Dippie, Brian, 151, 152, 178, 237–38n4; on The Outlier, 173, 174; on western art, 93, 223n2, 236n17 Divisadero (Ondaatje), 211 Doll and Richards Gallery, 166 economy, 165–66 Ehrlich, Gretel: The Solace of Open Spaces, 28 Elements of Drawing (Ruskin), 155 Eliade, Mirceau, 137 Elkins, James, 54; Pictures and Tears, 216 Erikson, Eric, 229n29 Evans, William T., 164 Evening on a Canadian Lake (Remington), Cody, William F. (Buffalo Bill), 123, 128–29, 132; Remington contrasted to, 79–80; Wild West Show of, 104–6, 108, 111 Cody wy, 121, 127 Colley, Ann C., 237n17 Collier, Robert J., 39, 77 Collier’s Weekly, 48, 50, 89; ends Remington’s contract, 77, 164; Remington Number (1905), 43; Remington’s contract with, 39, 76–77, 130; views Remington as increasingly irrelevant, 62 color: blue, 190, 192–94, 195, 196, 197, 198–99; brilliance of in west, 127–28; in Coming to the Call, 17, 34–35, 57, 65, 66; in Evening on a Canadian Lake, 19, 20–22; in With the Eye of the Mind, 26, 98; in The Hunters Supper, 154; in The Outlier, 170, 171, 174–75, 176, 178–79, 184, 190, 199, 201; red, 19, 20–30; yellow, 8–16 Columbian Exposition, 104 Coming to the Call (Remington), 5, 16–17, 27–72, plate 3; ambiguity and ambivalence motif, 17, 37, 67, 71; animal depiction in, 29–30, 38, 59–60, 63–64, 68, 69–70, 84, 189; color and light, 17, 24, 29, 30–31, 34–35, 37–38, 57, 65, 66; composition and structure of, 17, 29–31, 33–36, 37, 71; concealment and exposure motif, 34–36, 69, 71–72; first appearance of, 39–40; hunting depiction in, 32–33, 34–36, 38, 225–26n2; hypnotic value of, 69; incising motif, 57; loss and abandonment motif, 56; mastery of nature motif, 38, 53, 55, 56, 68, 71; production history of, 39–40; ritual hunt in...