In painting the romance of the American cowboy, Remington knew instinctively what would grip his audience and held it fast.
In the summer of 1885 a young artist from New York by way of Kansas City found himself resting by a campfire with a couple of prospectors out in Arizona Territory at a time when Geronimo was on the prowl, perhaps “even in our neighborhood.” It was about 9 o’c
Harry Jackson's painting gives the canvas a voice.
“I want my work to talk to the ordinary cowhand, as well as to experts who know a good deal about painting, in the same way that art of the Italian Renaissance talks to everyone.” If Harry Jackson, the painter of pictures of life on the range, had been shown this statement a do