December 7th, 2024

Happy Saturday! After some time off for the Thanksgiving holiday + life getting busy AF, your favorite art newsletter is back 😀 I hate missing issues but I want to devote the time this deserves and sometimes that’s just not possible. In the meantime, the crypto markets decided to finally wake up which I love to see. Of course BTC hitting $100k is the big story but I’m pleasantly surprised to see Tezos having a rally finally. I’m not sure what’s driving it other than general market forces trending up, but if it brings more attention back to the incredible art on the chain that’s a win for all of us. Now the statistically impossible scenario of PEPE hitting $.01 needs to happen and my family will be retiring early and in style haha.

As I mentioned in a previous issue, art depicting the American Southwest holds a special place in my heart. I was a big fan of cowboys as a child and oftentimes wished I was born 150 years earlier so I could have experienced life on the frontier. Growing up in the California desert and spending plenty of time in places like Arizona and Utah allow me to really “place” myself into the paintings. It’s hard to describe, but it’s a feeling of home even though it’s been 20 years or so since I’ve been in the desert wilderness. This week we’re taking a look at the life and work of another important artist, referred to as the “Cowboy Artist”.

Artist Spotlight - Charles Marion Russell (1864-1926)

Career

s was born on March 19, 1864, in St. Louis, Missouri, a bustling city that was a gateway to the American West. His family was well-off, and his father hoped Charles would enter a stable profession such as law or business. However, young Charles was captivated by stories of the frontier, Native Americans, and cowboys, which he read about and saw in illustrated magazines like Harper’s Weekly. He was a poor student, uninterested in academics, and spent most of his time drawing and crafting clay models of animals.

At the age of 16, Russell’s yearning to experience the West firsthand led him to Montana, where he worked as a ranch hand and cowboy. This decision marked the beginning of his lifelong connection to the region and its people. Unlike many artists who depicted the West from afar, Russell lived it. He spent years immersed in the cowboy lifestyle, herding cattle, living in rough conditions, and observing the landscapes, wildlife, and culture around him. This firsthand experience lent authenticity and emotional depth to his later artwork.

During his early years in Montana, he began sketching scenes of ranch life and landscapes, honing his skills as a self-taught artist. His talent caught the attention of those around him, and his works started to circulate locally. A pivotal moment came in 1886 when Russell created a watercolor titled Waiting for a Chinook during a harsh winter. The painting, which showed starving cattle under a bleak sky, became a powerful commentary on the struggles of frontier life and earned him recognition beyond Montana.

By the 1890s, Russell had begun to establish himself as a professional artist. He married Nancy Cooper in 1896, and she became an instrumental figure in managing his career. Nancy recognized her husband’s immense talent and took charge of promoting his work, helping him transition from a local Montana artist to a nationally known figure. With Nancy’s support, Russell expanded his reach, exhibiting in galleries and selling his works to collectors across the United States.

His paintings during this period captured the waning days of the Old West, a theme that resonated deeply with audiences at the turn of the 20th century. As the West became increasingly industrialized and modernized, his art provided a nostalgic look at a rapidly disappearing way of life. His works depicted cowboys breaking horses, Native American rituals, bison hunts, and dramatic confrontations between settlers and the untamed wilderness.

Russell was not merely a recorder of historical events; he infused his work with storytelling. His paintings often included narrative details that added layers of meaning and invited viewers to imagine the lives of the characters he portrayed. His style was highly illustrative, characterized by vibrant colors, dynamic compositions, and meticulous attention to detail, particularly in the depiction of horses, landscapes, and Native American clothing.

By the early 20th century, he had become one of the most celebrated artists of the American West. He exhibited his work in major cities, including New York, and received commissions for murals and illustrations. He also expanded into sculpture, creating bronze pieces that captured the same themes as his paintings. One of his most famous sculptures, The Bronco Buster (1905), shows a cowboy struggling to tame a bucking horse, symbolizing the enduring spirit of the West.

Russell’s later works continued to reflect his deep respect for Native American cultures, which he portrayed with sensitivity and admiration. Unlike many of his contemporaries, who often depicted Native Americans as antagonists or stereotypes, Russell emphasized their humanity, traditions, and struggles in the face of encroaching settlers. Works like Indian Women Moving (1911) and The Medicine Man (1908) show his appreciation for their way of life and his desire to preserve their stories.

Despite his success, Russell remained deeply connected to Montana, living in the town of Great Falls. He built a log-cabin studio where he created many of his masterpieces, surrounded by objects and artifacts from his years on the frontier. He became a beloved figure in the community, known for his wit, storytelling, and humility. He was a gifted storyteller, often entertaining friends and patrons with humorous anecdotes about his life on the frontier. This playful spirit often found its way into his art, especially in sketches and small drawings that included comical or lighthearted scenes.

He believed that authenticity was essential in art. Having lived the cowboy life himself, Russell sought to depict the West as he experienced it, rather than romanticizing or dramatizing it for commercial appeal. His influence extended beyond the art world, shaping how Americans viewed the West and its history. His depictions of cowboys, Native Americans, and frontier landscapes helped define the visual vocabulary of the West, influencing everything from literature to film.

Russell passed away on October 24, 1926, but his legacy endures as one of the most important chroniclers of the American West. His body of work—over 4,000 paintings, sculptures, and illustrations—provides a vivid and enduring record of a way of life that has become mythologized in American culture. His art has been preserved in major collections, including the C.M. Russell Museum in Great Falls, Montana, which is dedicated to his life and work.

Contributions to the Art World

During Russell’s lifetime, Western art was not widely recognized as a legitimate or prestigious genre within the broader art world. By achieving national recognition for his work, Russell elevated the status of Western art, paving the way for later artists who would continue to explore similar themes. Alongside Frederic Remington, Russell established Western art as a distinct and respected genre within American art history.

His works were exhibited in major cities such as New York, where they attracted the attention of collectors, critics, and museums. His success helped legitimize the artistic exploration of the American West and broadened the appeal of this subject matter to audiences beyond the frontier.

Russell was a gifted storyteller, both verbally and visually. His paintings and sculptures often include rich narrative details that evoke a sense of drama, humor, or poignancy. For example, in works like Laugh Kills Lonesome (1925), Russell combines vivid characters, dynamic action, and intricate settings to tell a complete story within a single image.

His ability to weave stories into his art resonated deeply with audiences, particularly during a period when the mythos of the American West was becoming a central part of national identity. By capturing not only the visual details of the frontier but also its spirit and drama, Russell’s work transcended mere representation and became a form of narrative art.

Style

Russell’s art is often categorized as realist because of its detailed and accurate portrayals of the American West. His firsthand experience as a ranch hand and cowboy gave him an intimate knowledge of the region’s landscapes, people, animals, and cultures. This authenticity set him apart from many other artists of the time, who often romanticized the West from a distance.

While his work was grounded in realism, it also contained romantic elements, particularly in its nostalgic and celebratory tone. He often idealized the camaraderie of cowboys, the heroism of frontier life, and the spiritual connection between Native Americans and nature. These romantic touches reflected his reverence for the disappearing world of the West and his desire to preserve its stories.

Storytelling was central to Russell’s style. Each of his works, whether a painting, a sketch, or a sculpture, captured a moment of action or drama, often leaving viewers to imagine the events leading up to and following the scene. He excelled at conveying emotion and tension, making his works highly engaging.

His use of color was a defining feature of his paintings. He employed a palette inspired by the natural beauty of the West, with warm earth tones for prairie landscapes, vivid blues for expansive skies, and striking contrasts of red, white, and black in his portrayals of Native American attire. His colors not only captured the physical beauty of the region but also conveyed its atmosphere and mood, from the golden glow of a sunset to the stormy skies of an impending conflict.

Influences and Lessons

Frederic Remington, another iconic artist of the American West, was an important contemporary of Russell. While the two had different approaches—Remington’s style was more polished and often more dramatic—both shared a passion for preserving the frontier. Russell admired Remington’s ability to bring the West to life through dynamic compositions and attention to detail. However, Russell’s art distinguished itself by focusing more deeply on the lived experiences of cowboys and the humanity of Native Americans.

Russell had deep admiration for Native American peoples and cultures, which significantly influenced his work. Unlike many artists of his time who depicted Native Americans as villains or secondary figures, Russell portrayed them with dignity and respect. He befriended members of several tribes, particularly the Blackfeet, and spent time observing their ceremonies, daily lives, and traditions. This firsthand exposure influenced the accuracy and sensitivity of his depictions.

He defied societal expectations to pursue his love of the West and art. Despite his family’s initial resistance, he followed his dream, and his success came from his dedication to his craft and his unique vision.

Style Representation

Collectors Corner - dehiscenceart & RezaMilani

Final Thoughts

It’s 55f today so I’m going to take the rare opportunity of warmer weather and get after some leaf raking. Then I’ll pick another authentic Italian recipe and cook up something (hopefully) delicious for dinner tonight. I’ve been on a journey of learning to be a better cook and this has taken me through several incredible classic Italian dishes. My wife says it all tastes great so I hope she’s not just being charitable haha.

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On that note, I’ll leave you with a quote celebrating the adventure we’re all looking for in life:

Enjoy your weekend, friend!

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