Priya Kapoor
A Dash for the Timber is a painting by Frederic Remington, first exhibited in 1889 at the National Academy of Design. The painting depicts cowboys in a life-threatening situation, with their horses in full flight as they are pursued by a group of Native Americans. Remington's portrayal of the horses' limbs in movement was influenced by Eadweard Muybridge's pioneering sequential photographs. The painting was a critical success and shaped popular imaginings of Western life, with Remington simplifying a complex reality to present settlers and Indigenous peoples as incompatible and linked only through violence.
| Characteristics | Values |
|---|---|
| Artist | Frederic Remington |
| Year | 1889 |
| Subject | Cowboys in the Southern US |
| Style | Oil on canvas |
| Current location | Amon Carter Museum of American Art |
| Previous owners | Washington University, David Findlay Sr. |
| Inspiration | Remington's trip west to document army efforts to capture the Apache leader Geronimo |
| Theme | A "life-threatening situation" |
| Composition | Horses and their riders in motion, returning fire to a group of pursuers |
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What You'll Learn
The painting's historical context
The Paintings Historical Context
Frederic Remington's painting 'A Dash for the Timber' was completed in 1889. Remington was sent west from his home in New York by Harper's Weekly to document army efforts to capture the Apache leader Geronimo. After the trip, Remington created this fictional scene to showcase the bravery and camaraderie of cowboys in the West. The painting depicts eight cowboys on horseback, with a group of Native Americans in pursuit. Remington's portrayal of the horses in motion was influenced by his study of pioneering horse photographer Eadweard Muybridge.
The painting was Remington's first masterpiece and established his reputation as a serious artist. It was first exhibited at the National Academy of Design in 1889 and was a critical sensation. Remington's skill as an artist was matched by his business acumen, and he effectively promoted and publicised his work. He also regulated his output to maximise his income and kept detailed records of his sales and works.
'A Dash for the Timber' captures a sense of action and movement, leaving viewers with a sense of exhaustion. Remington's portrayal of the cowboys and Native Americans as incompatible and linked only through violence simplifies a more complex reality. The painting denies the humanity of Native Americans, portraying them as aggressors, and obscures accounts of diplomacy and cross-cultural exchange. This reflects the myths Remington encouraged about his Western experiences and his "pseudo-cowboy" persona.
Remington's work, including 'A Dash for the Timber', shaped popular imaginings of Western life. His paintings and sculptures are well-catalogued and can be found in various American museums, including the Amon Carter Museum of American Art and the Frederic Remington Art Museum. Remington's first one-man show in 1890 presented 21 paintings and was very well received, establishing his place in society.
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Depictions of violence
"A Dash for the Timber" by Frederic Remington is a painting that depicts a group of cowboys in a life-threatening situation, with horses in full flight as they rush for the timber, and a group of Native Americans in hot pursuit. The painting conveys a sense of urgency and violence, with riders returning fire, and equipment bouncing madly, pounding both horse and rider. The horses' limbs are depicted in mid-air, with muscles straining, nostrils flared, and eyes bulging in fear. The painting captures a sense of action, with one rider appearing rigid, as if hit, and another assisting them to cover. Bullets rip into the horses' flesh, kicking up dirt, and smoke mixes with dust and sunlight. Remington's skill as a businessman matched his artistry, and he was an effective promoter of his work.
The painting was first exhibited in 1889 at the National Academy of Design, and it was a critical sensation that shaped future popular imaginings of Western life. Remington's depiction of settlers and Indigenous peoples as incompatible, linked only through acts of violence, simplifies a more complex reality. It denies the humanity of Native Americans, portraying them as aggressors, and obscures accounts of diplomacy and cross-cultural exchange.
Remington was sent west by Harper's Weekly to document army efforts to capture the Apache leader Geronimo. After the trip, he devised this fictional scene to showcase the bravery and comradery of western cowboys. His portrayal of airborne horses was revolutionary at the time, aided by his study of Eadweard Muybridge's sequential photographs of horses in motion. The painting captures a sense of movement and action that leaves the viewer in a sweat of exhaustion.
"A Dash for the Timber" is considered Remington's first masterpiece, and it established his reputation as a serious artist. It is a powerful depiction of a life-and-death struggle, with a sense of urgency and violence that has remained undiminished over time.
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Depictions of settlers and Indigenous peoples
"A Dash for the Timber" by Frederic Remington is a painting that depicts a group of cowboys in a life-threatening situation, riding their horses at full gallop towards a patch of timber, with a group of Native Americans in hot pursuit. The painting captures a sense of urgency and action, with the horses' limbs in full motion, nostrils flared, and eyes bulging in fear. Remington's skill in capturing the movement of the horses was influenced by his study of pioneering horse photographer Eadweard Muybridge.
The painting simplifies a complex reality, presenting settlers and Indigenous peoples as incompatible and linked only through acts of violence. Remington's work denies the humanity of the Native Americans, portraying them as the primary aggressors, and obscures the accounts of diplomacy and cross-cultural exchange that did not culminate in open conflict. This depiction of Indigenous peoples as violent and aggressive was not an accurate representation of the cultural interactions between settlers and Indigenous communities.
Remington's painting was a fictional scene inspired by his trip west to document army efforts to capture the Apache leader Geronimo. The artist's personal experiences and observations shaped his artwork, but he also simplified and sensationalised the realities of western life. Remington's work contributed to and influenced popular imaginings of the Wild West, shaping how people understood and visualised this period of American history.
The painting's dramatic composition captures a sense of movement and urgency, with the riders and their horses in a desperate dash for safety. The timber, thin and sparse, offers little protection, and the riders appear doomed. Remington's work captures the bravery and comradery of the cowboys while also presenting a sensationalised and simplified version of the complex relationships between settlers and Indigenous peoples.
The painting has been described as a "struggle on canvas", with the riders returning fire as they attempt to survive. The equipment of both the pursuers and the pursued is depicted as bouncing madly, adding to the sense of chaos and urgency. The painting conveys a sense of imminent danger and violence, with bullets ripping into horse flesh and dust and smoke mixing with sunlight. "A Dash for the Timber" is a powerful and evocative work that has left a lasting impact on popular culture and imaginations of the Wild West.
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Horses in motion
The 1889 painting "A Dash for the Timber" by Frederic Remington is a dynamic and action-filled masterpiece that captures the drama and tension of a group of cowboys in a life-threatening situation. The painting depicts eight cowboys on horseback, in full flight as they rush towards a patch of timber, with a group of Native Americans in hot pursuit. Remington's talent for capturing movement and action is evident in the portrayal of the horses, which are shown with their limbs in full motion, muscles straining, nostrils flared, and eyes bulging in fear. The sense of urgency and danger is heightened by the details of equipment bouncing wildly, hat brims bent to the wind, and the smoke and dust of pursuit.
Remington's inspiration for "A Dash for the Timber" came from his assignment with Harper's Weekly, where he accompanied General Cook on the trail of the rebel Apache leader Geronimo. During this trip, Remington studied the works of pioneering photographer Eadweard Muybridge, who had developed a technique for capturing fast-action sequential photographs of horses in motion, including images of horses airborne. This influence can be seen in Remington's revolutionary portrayal of the horses in "A Dash for the Timber", which captures the energy and power of the animals in motion.
Beyond its artistic merit, "A Dash for the Timber" has been noted for its impact on popular imaginings of Western life. Remington's painting simplifies a complex reality by presenting settlers and Indigenous peoples as incompatible, linked only through acts of violence. This denial of humanity to Native Americans, portrayed as the primary aggressors, obscures the historical accounts of diplomacy and cross-cultural exchange that did not culminate in open conflict. Despite this, the painting was a critical sensation and helped shape Remington's reputation as a serious artist.
The painting's sense of movement and action is further enhanced by Remington's attention to detail and careful composition. The horses' limbs, equipment, and riders' postures all contribute to the sense of dynamic motion, with each element carefully placed to convey the urgency and danger of the scene. Remington's skill as a businessman and promoter also played a role in the success of "A Dash for the Timber". He carefully regulated his output and kept detailed notes about his works, ensuring that his originals were handled carefully and returned to him in pristine condition, maximising his income.
Overall, "A Dash for the Timber" is a powerful and influential work that captures the drama and tension of the Wild West through its remarkable portrayal of horses in motion. The painting's impact on popular culture and Remington's artistic legacy is a testament to its enduring appeal and the skill with which it was executed.
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The artist's personal life
Artist Frederic Remington led a life that was markedly different from that of his contemporary, Charles Russell. Remington's personality, "pseudo-cowboy" speaking manner, and "Wild West" reputation were strong social attractions. He was a prolific socialite, regularly attending celebrity banquets and stag dinners, which helped his career but also caused him to overeat and drink, leading to obesity. Remington's biography also falsely promoted some of the myths he encouraged about his Western experiences.
Remington was a skilled businessman and an effective publicist and promoter of his art. He insisted on careful handling of his originals and their return in pristine condition so that he could sell them. He was meticulous in regulating his output to maximize income and kept detailed notes about his works and sales. Remington's first great painting, "A Dash for the Timber," established his reputation as a serious artist and is considered his first masterpiece. It was first exhibited publicly at the National Academy of Design in 1889 and later sold to a private collector, who donated it to Washington University.
Beyond his paintings, Remington also ventured into sculpture. With the help of his friend and sculptor Frederick Ruckstull, he created his first armature and clay model, a "broncho buster" on a rearing horse, which was technically challenging. Despite mixed critical responses, Remington's sculptures were commercially successful, earning him a significant income.
Remington's works often depicted scenes of the American West, including cowboys and Native Americans. His painting style captured a sense of movement and action, particularly in his portrayal of horses, which was influenced by the pioneering horse studies of Eadweard Muybridge. Remington's work had a significant impact on popular imaginings of western life, shaping future depictions in art and film.
Remington's life and work were not without controversy. Despite his success and recognition as an artist, some critics and observers have expressed dislike for Remington as a person. Additionally, his paintings, such as "A Dash for the Timber," have been criticized for their depiction of settlers and Indigenous peoples as incompatible and linked only through acts of violence. Remington's work denied the humanity of Native Americans, portraying them as aggressors and obscuring the complexities of cultural exchange and diplomacy.
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Frequently asked questions
The painting was commissioned by Harper's Weekly when they sent Remington west from New York to document army efforts to capture the Apache leader Geronimo. Remington's painting is a fictional scene inspired by his trip, conveying the bravery and comradery of western cowboys.
Remington's painting captures a sense of movement and action, with a focus on the horses' limbs in motion. The painting is also notable for its portrayal of airborne horses, which was considered revolutionary at the time.
The painting was created in 1889 and first appeared publicly at The National Academy of Design in the same year. It depicts a scene from the American West, with cowboys and Native Americans engaged in a chase.
The painting is currently held at the Amon Carter Museum of American Art in Fort Worth, Texas. Reproductions of the painting are also available for purchase from various online art galleries.
