The American West

Frederic Remington was an American artist and writer. He specialized in interpreting the American West through various art forms such as drawings, paintings, sculptures, writings, etc. In his pamphlet “Drawings,” published in 1897, Remington depicts many scenes in American history ranging from portraits of Native peoples, to landscapes, to war scenes. Remington’s work contributed largely to what most people might think of as the “American West.” When I think of “the West,” I think of cowboys, saloons, Native Americans and the vast deserted landscapes waiting to be claimed! Remington’s art portrays the drama, action and contrast between peoples of the west.

Remington’s work is important for many reasons. The first is their cultural significance. As mentioned before, many of his works shaped the popular image of the west. Because his art is so influential, many different interpretations can lead to harmful attitudes and opinions. Being an influential artist is not inherently harmful, however it can be if we are unaware of the biases or implications their work exhibits.

Remington’s work generally represents how the European and other explorers viewed Native American cultures. Here are a few photographs of Remington’s work which most certainly align with the stereotypical image of the “west.”

A Misdeal

The Water in Arizona

Forsythe’s Fight on the Republican River

What is most interesting is this drawing, The Missionary and the Medicine Man.

the missionary and the medicine man

One interesting aspect of this drawing is the application of technique. In the sketch, the missionary is standing, while the medicine man is on all fours and on the ground. The contrast of their positions and height suggests a social hierarchy. It implies that the medicine man is less sophisticated than the missionary. The Natives Americans in the background are poorly lit and on the ground while the missionary is well lit with a light source from above. This indicates that he might have divine qualities, or is blessed by the divine. Through the application of visual art techniques such as form and value, this is an example that perpetuates the stereotypical image of the unrefined societies of the Native Americans.

Remington’s portrayal of both peoples represents the perceptions of the European explorers and other settlers. In this specific instance, Remington’s illustrations are problematic. This drawing portrays the Native American culture and inferior and unsophisticated. This is a strong bias that has influenced many other’s thoughts.

What we cannot infer from his drawing is the cultural significance of a medicine man in many Native American tribes. Medicine men in some tribes were highly regarded as people with supernatural healing powers. Another significant part of some of the Native American cultures was the Medicine Dances or Medicine Bundle Ritual like that of the Blackfoot. The Medicine Bundle Ritual was also accositated with the sacred medicine bundle. Remington’s work may not be accurate for interpreting the cultural significance of the medicine men, however it is not unimportant. It still provides information about how the Europeans and explores viewed the Native American culture.

This relates to Nettl’s studies, and even some of Densmore’s work regarding ethnography. Nettl emphasizes the importance of the method in which a culture should be “studied.” Much of a perception is based on the understanding of a culture. Nettl focused much of his time immersing himself and participating in a culture, not simply observing it from afar.  His approach to the study of a culture is very important when attempting to represent a different culture.

Works Cited

“Frederic Remington.” Columbia Electronic Encyclopedia, 6Th Edition (March 2017): 1. Academic Search Premier, EBSCOhost (accessed September 21, 2017).

Lucas, Joseph S. “Civilization or Extinction: Citizens and Indians in the Early United States.” Journal Of The Historical Society 6, no. 2 (June 2006): 235-250. Academic Search Premier, EBSCOhost (accessed September 23, 2017).

Remington, Frederic. 1897. Drawings by Frederic [[Remington]]. Available through: Adam Matthew, Marlborough, American West, http://www.americanwest.amdigital.co.uk/Documents/Details/Graff_3457 [Accessed September 21, 2017].

The Melting Pot: Remington’s Chinese Figure Study and American Music

Frederic Remington (1861-1909) was an American painter, sculptor, illustrator, and writer (no relation to the rifle- and typewriter-makers, Eliphalet and Philo Remington). Although he studied for short periods at Yale’s School of Fine Arts as well as at the Art Students League in New York, he was a mostly self-taught artist. After a period traveling through the Dakotas, Montana, the Arizona Territory, and Texas, he had one of his drawings published in Harpers’s Weekly, leading to a long relationship with that publication as well as with The Century Illustrated and Scribner’s Magazine.

Due to Remington’s first-hand experience with the quickly-vanishing frontier, he grew renowned for his visual and textual depictions of cavalry, cowboys, Native Americans, and the American West:

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Knowing about his affinity for the American West, it might at first seem odd that while painting cowboys and campfires Remington also drew this Chinese figure study:

Screen Shot 2015-04-29 at 10.14.32 AM

I promise you though, this is not odd at all.

As everyone knows, America is a land of immigrants, referred to in past years as the great melting pot (now we opt for the great salad bowl, kaleidoscope, or mosaic). Beginning in the 19th century, immigrants from China came to America, especially to the West, to work as laborers for the transcontinental railroad and the mining industry. These immigrants faced fierce racial discrimination, leading to such laws as the 1882 Chinese Exclusion Act, prohibiting immigration from China for ten years, and the 1892 Geary Act, extending the prohibition for another decade. Thus the presence of Chinese immigrants in the American West would not have been uncommon, and Remington would have found many study subjects as he traveled the frontier.

“That’s interesting, but why is this post in a music history blog?”

By presenting a Chinese figure in various outfits, Remington demonstrates the Americanization of immigrants: on the left is a figure in more traditional clothing, while the figures on the right take on more and more aspects of Western culture, such as replacing the tunic with a baggy shirt and the cap with a Spanish guacho or grandee. So, by including Chinese immigrants in his oeuvre, Remington was portraying other cultures as an important piece of the American pie. In similar ways, composers like Amy Beach, Edward MacDowell, and Antonín Dvořák also sought to include other cultures as members of the American family.

Take the fifth movement of MacDowell’s Indian Suite of 1892, which pulls tunes from the Iroquois tribe:

Or listen to the Largo from Dvořák’s From the New World, which, while not directly copying songs, features original melodies similar to Native American music:

Or sample Amy Beach’s Gaelic Symphony, in which she incorporates traditional Irish-Gaelic melodies, tapping into the rich heritage of a people long part of the American fabric:

Remington and these three composers are just a few of the numerous artists who rather than exoticizing other cultures sought to portray them as an essential part of the American melting pot.


Beach, Amy. Symphony in E-minor, No. 2 “Gaelic.” American Series Vol. 1. Detroit Symphony Orchestra, conducted by Neeme Järvi. Chandos CHAN 8958. Streaming audio. YouTube. https://www.youtube.com/watch?v=VmLU1CfHcJw. Accessed April 29, 2015.

Dvořák, Antonín. Symphony No. 9 “From the New World”, Op. 95. Prague Festival Orchestra, conducted by Pavel Urbanek. LaserLight Digital 15824. Streaming audio. YouTube. https://www.youtube.com/watch?v=2TIFEQLANpw. Accessed April 29, 2015.

Foxley, W. C. “Remington, Frederic.” Grove Art Online. Oxford Art Online. Oxford University Press. http://www.oxfordartonline.com/subscriber/article/grove/art/T071404. Accessed April 29, 2015.

MacDowell, Edward. Suite No. 2 “Indian”, Op. 48. Village Festival. Bohuslav Martinu Philharmonic, conducted by Charles Johnson. Albany Records TROY 224. Streaming audio. YouTube. https://www.youtube.com/watch?v=efDZ100iJMQ. Accessed April 29, 2015.

Remington, Frederic. “A Mining Town, Wyoming.” Oil on canvas. Ca. 1898. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6329189165/in/set-72157649247951734. Accessed April 29, 2015.

Remington, Frederic. “Chinese Figure Study.” Ink on paper. Date unknown. Flaten Art Museum Collection. http://embark.stolaf.edu/Obj4142?sid=162&x=83&sort=9. Accessed April 29, 2015.

Remington, Frederic. “Recent Uprising Among the Bannock Indians — a Hunting Party Fording the Snake River Southwest of the Three Tetons (Mountains).” Wash on paper. Ca. 1895. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5042171903/in/set-72157651574818071. Accessed April 29, 2015.

Remington, Frederic. “The Broncho Buster #275.” Bronze cast. 1895. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5169152407/in/set-72157625248734897. Accessed April 29, 2015.

Remington, Frederic. “The Outlier.” Oil on canvas. 1909. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5042214861/in/set-72157649247951734. Accessed April 29, 2015.

Remington, Frederic. “Then He Grunted and Left the Room.” Wash on paper. 1894. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6329996698/in/set-72157651574818071. Accessed April 29, 2015.

Remington, Frederic. Untitled [possibly The Cigarette]. Oil on canvas. Ca. 1908-1909. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6332165260/in/set-72157649247951734. Accessed April 29, 2015.

Recapturing the Dignity of the American Indian

The caricature of the savage Native American is all too common in the history of American Art. This is especially true in  art of the American West, rife with its depictions of pioneers and cowboys fighting off Indians and the elements in the name of survival and Manifest Destiny.

Some turn of the century artists like Charles Marion Russell (1864-1926) and Frederic Remington (1861-1909) managed to rehabilitate this image, depicting ways in which Native Americans (and men in particular) could be pleasant to look at artistically. In the masculine world of the West, this primarily meant depicting them as active participants in the drama of uncharted territory. However, this also reinforced the notion that American Indians led a violent, uncivilized life.

Painting of a buffalo hunt by Frederic Remington

Painting of a buffalo hunt by Frederic Remington

"For Supremacy" by Charles Russell

“For Supremacy” by Charles Russell

This serves as a marked contrast to the Native American Portrait Study by Olaf Carl Seltzer (1877-1957) in the Flaten Art Museum Collection. The first word that came to mind when I saw it was ‘dignity’; the second was ‘still’.

OCS

Seltzer lived in Great Falls, Montana from the time he was 19 until his death. From that, I inferred (with the consultation of a map of Native American tribal territories) that this study is of individuals belonging to the Blackfoot tribe. A simple google image search confirmed this suspicion, as I found numerous portraits of Blackfoot members whose hairstyles and earrings strongly resemble those in the study.

BF1BF2

Of course I don’t mean to suggest through this analysis that the Blackfoot people or any other group of Native Americans needs a white man to recapture their dignity. But it is refreshing to see that there is at least one instance in American art of someone capturing the dignity of Native Americans authentically not through violence, but through still portraits. Even if it is just a study.

In studying the history of American music, we have seen multiple times how non-white cultures have been repeatedly misrepresented. The violence latent in portraits by Russell and Remington can be found in stereotypical musical depictions of Native Americans that rely on similarly simplistic and vulgar generalizations: I’m thinking especially of pulsing drums, war-whoops, and melodies that only use pentatonic scales.

Even recent depictions rely on the simplistic drum patterns and repetitive melodies that have been stuck to Native American’s since the beginning, even when the atmosphere isn’t as frenetic, violent, or (in the case of Peter Pan) partially sexualized.

Who then is the Seltzer of American music? In other words, is there anyone that we can point to as capturing the essence of Native Americans without cheap theatrics? Perhaps the closest is Edward MacDowell’s Indian Suite (1892), which utilizes (alleged) Native American melodies. Luke provides an excellent study of this depiction here.

The unfortunate truth remains that we are relying on inauthentic depictions of Native Americans by whites to explore Indian-ness. But isn’t to say that there aren’t any Native American composers trying to do the same; a simple YouTube search shows otherwise. Unfortunately, these composers don’t hold a firm place in the current music history curriculum. While articles like this are a start, we as musicologists must strive to support authentic depictions of Native American music while remaining critical of the Russell’s and Remington’s of American music.

Social Implications of Rap Music

After thorough investigation of Frederic Remington’s life and travels, I found no evidence of him traveling to China or studying Chinese people… So I will do my best to interpret the Chinese Figure Study that Remington drew in the late 1800s, in relation to rap music of the 1990s. The Chinese Figure Study (see below) is and ink on paper drawing of three figures, presumably Chinese men. The most striking element of the drawing is the differences in each three men. From left to right they represent a different Chinese man: the far left, a Chinese man in traditional garb, perhaps more wealthy and to the far right, a westernized Chinese cowboy who represents a lower class immigrant.

Chinese Figure Study - Frederic Remington

Chinese Figure Study – Frederic Remington

If my interpretation is correct, the above artwork can be compared to the hip hop music from the 80s and 90s we studied. Rap/Hip-hop culture emerged in the Bronx, New York among young African Americans. This new hip-hop movement was a musical outlet for expressing the voices of the low-income Americans. The lyrics of hip hop music is very indicative of this internal and external battle the youths were facing. Public Enemy’s song “Fight the Power” exemplifies the battle of white and black social hierarchy:

“While the Black bands sweatin’
And the rhythm rhymes rollin’
Got to give us what we want
Gotta give us what we need
Our freedom of speech is freedom or death
We got to fight the powers that be
Lemme hear you say
Fight the power”

In the song, Public Enemy talks about the rights of man and that they should fight for their rights. The painting displays a sort of classifying of man by race and socio-economic value. The binding similarities of an oppressed people are illustrated in both Remington’s Chinese Figure Study and Public Enemy’s “Fight the Power.”