163 research outputs found
Trails for Oregon: a plan for a recreation trails system
No full textby Jack Remington and Jean Keating.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Electronic reproduction. Salem, Or. : State Library of Oregon, 2022 Electronic reproduction from print version OrMode of access: Internet from the Oregon Government Publications Collection.Text in English
Painting "Saddling a Bronco", by Frederic Remington, ca.1908
No full textPhotograph of a painting "Saddling a Bronco", by Frederic Remington, ca.1908. The painting shows a frightened horse out of control. Two men are trying to gain control of the horse while another looks on from the background.; "Frederic Remington was born in nearby Canton, NY in 1861. His father was a Civil War Hero and his mother came from a prosperous family. Frederic demonstrated great interest in horses and military things at an early age, and was sent to the Highland Military Academy in Massachusetts for secondary schooling. Developing an insatiable appetite for art, Remington received his first formal art training at Yale and the Art Students League, but left college before graduating to pursue the adventure and excitement of the western frontier. He gathered information, made sketches and took photographs which he later used at his home in New Rochelle, NY to create his paintings and bronzes. He died in 1909 of complications following an appendectomy, and is buried in Canton, NY.Remington's paintings and sculptures are owned by museums and private collectors throughout the world, with the largest collection located here in Ogdensburg at the Frederic Remington Art Museum. Through his heroic and savage depictions of cowboys, soldiers and indians, Remington glorified the theme of the West as the American Frontier." -- unknown author
Review of \u3ci\u3eFrederic Remington and the West: With the Eye of the Mind\u3c/i\u3e By Ben Merchant Vorpahl
No full textThis book, by the editor of the Frederic Remington-Owen Wister letters, is a strangely disappointing work on a promising subject. It is not the usual picture book of Remington paintings, nor is it really a biography. Rather it is an attempt to recreate Remington\u27s intellectual, emotional, and artistic perceptions as they changed through his life. This is a laudable attempt. Unfortunately, the author is most often cryptic, confused, and much given to the jargon of abstraction. As a consequence any reader must bring a good deal of information to the book or it will be virtually meaningless. Possibly a good editor could have made the prose more readable and aided the author in bringing out his points more clearly.
If one digs hard enough one can find some intriguing material in this book. Forpahl is perhaps the first person to look very hard at Remington paintings in an analytical way. He does note Remington\u27s preoccupation with violence and quite rightly sees a linkage with some of the themes of the novelist Frank Norris. He also sees Remington emerging from a conventional illustrator to a man who becomes increasingly aware of the paradoxes of his time. In one memorable scene he juxtaposes the New York Horse Show, Remington\u27s exhibit that accompanies it, and Theodore Roosevelt\u27s observations. But then he reverts to comments on The Bronco Buster as a symbol of Remington\u27s own confusion and that of the paradoxes inherent in American society. The connection between the horse show, the exhibit, Theodore Roosevelt, and The Bronco Buster is never made really explicit. One feels there is something there but that it is not on the author\u27s page. This is characteristic of virtually every chapter in the book. One never quite grasps the significance of Remington\u27s appearance at Wounded Knee just after the battle, though the author suggests it had great significance. On another occasion the author alludes to Remington\u27s adoption of the idea of vortex in his later paintings, but then he drops this subject just as it becomes interesting. Examples such as this could be multiplied many times. This is most unfortunate, because the author has a main point that is clearly valid and that is that Remington was by no means a literal recorder of the western scene. He did indeed see things through the eye of the mind. Art historians have become accustomed to reading that statement about painters like Moran and Bierstadt, but rarely have they thought of Remington in this way. They should, and perhaps this is the best reason for reading Vorpahl\u27s book
Recommended from our members
Cuba in war time /
No full text"This controversial 1897 book played an integral part in the United States' involvement in the Spanish-American War. The author, a popular reporter for the New York Journal, was dispatched by William Randolph Hearst to cover the Cuban uprising. His vibrant reports, gathered in this volume, are brilliantly enhanced with 24 illustrations by famed artist Frederic Remington"-
Painting, "The Old Santa Fe Trail", by Frederic Remington, depicting horsemens guiding a chain of ox-drawn carriages, [s.d.]
No full textPhotograph of a painting, "The Old Santa Fe Trail", by Frederic Remington, depicting horsemens guiding a chain of ox-drawn carriages, [s.d.]. Short buildings are visible in the background.; "Frederic Remington was born in nearby Canton, NY in 1861. His father was a Civil War Hero and his mother came from a prosperous family. Frederic demonstrated great interest in horses and military things at an early age, and was sent to the Highland Military Academy in Massachusetts for secondary schooling. Developing an insatiable appetite for art, Remington received his first formal art training at Yale and the Art Students League, but left college before graduating to pursue the adventure and excitement of the western frontier. He gathered information, made sketches and took photographs which he later used at his home in New Rochelle, NY to create his paintings and bronzes. He died in 1909 of complications following an appendectomy, and is buried in Canton, NY.Remington's paintings and sculptures are owned by museums and private collectors throughout the world, with the largest collection located here in Ogdensburg at the Frederic Remington Art Museum. Through his heroic and savage depictions of cowboys, soldiers and indians, Remington glorified the theme of the West as the American Frontier." -- unknown author
Review of \u3ci\u3eThe Frederic Remington Studio\u3c/i\u3e By Peter H. Hassrick
No full textThis short book concerns the Remington Studio Collection-a permanent installation at the Buffalo Bill Historical Center in Cody, Wyoming, featuring the artifacts Remington displayed in his New Rochelle studio, as well as some of the paintings he made late in his career. The author noted Remington scholar Peter Hassrick, discusses the studio and argues that the Studio Collection paintings, many of them small landscapes, transcend Remington\u27s time and place to achieve a universal significance. In making this argument, however, Hassrick neglects to consider how the very category of the universal, insofar as it refers to American art, is itself a historical and political phenomenon.
The Frederic Remington Studio is a second edition of the book written by Hassrick in 1981. The new volume includes new photography, much of it in color, and an expanded and sometimes illuminating text. For example, Hassrick makes an instructive comparison between Remington\u27s studio and that of the cosmopolitan New York painter William Merritt Chase, using Chase\u27s studio to exemplify the feminized art space against which Remington-his studio full of snowshoes, guns, and swords, among other rugged objectssought to react.
For the most part, however, Hassrick writes of Remington\u27s career, seeing it as a progression towards the artist\u27s ultimate achievement: the impressionist and post-impressionist paintings of his last few years. About these late paintings, many of them in the Studio Collection, Hassrick argues that only the universals remained-the land, the light and the colors. These works, he argues, transcend their time. Such an argument demonstrates Hassrick\u27s Modernist aesthetic. So too does his praise of pictorial design at the expense of subject matter. Remington\u27s small painting entitled Taos Pueblo, for example, shows the artist\u27s interest in the abstract shapes and interlocking planes of the adobe structure.
The formal qualities of Remington\u27s art are important, as Hassrick was the first to demonstrate. Yet, by holding uncritically to a Modernist position, Hassrick fails to consider the historical specificity of his own line of argument. Hassrick\u27s aesthetic is ultimately traceable to the writing of Clement Greenberg, the art critic whose defense of abstract painting became enormously influential in the late 1940s and early 1950s. Among American art critics, it was Greenberg who first successfully argued that the best art concentrated solely on its own formal properties. In holding uncritically to this Greenbergian aesthetic, Hassrick produces a twofold irony in his writing on Remington. First, as the art historian Elizabeth Johns has noted, he endorses the viewpoint of precisely those Modernist critics who have disparaged Remington\u27s great realist paintings as bad art.
Second, Hassrick reproduces the Cold War political sensibility out of which Greenberg\u27s ideas emerged. The art historian Serge Guilbaut has demonstrated how Greenberg championed a pictorial language of abstract formalism partly as a reaction to Soviet ideology and its propagandistic art forms. In this Cold War context, Guilbaut points out, the claim of abstract painting to be an apolitical, universal, and humanist language, expressive of individual freedom, helped to symbolize democratic liberties in the free world. Many differences separate Greenberg and Hassrick, of course yet at the heart of Hassrick\u27s assumptions about Remington is the Greenbergian idea that Remington\u27s formally self-conscious late works, in which subject matter becomes less important, constitute an apolitical humanist vision. In this sense, Hassrick\u27s view of Remington\u27s universal late art reproduces a Cold War political position.
My purpose here is not to disparage Hassrick\u27s work. Elsewhere he has written perceptively about the politics informing the first major wave of Remington scholarship in the late 1940s: The United States had just won World War II, and American scholars sought to establish an unprecedented place for the American experience in world history and culture. The West and its artists found welcome places in these expanding national investigations, and a number of western artists were \u27discovered\u27 in the process. In such a passage, Hassrick is himselfGuilbaut to Harold McCracken\u27s Greenberg. What I encourage Hassrick to do-in keeping with his own line of inquiry-is to consider the Cold War roots of his own approach to Remington
Review of \u3ci\u3eFrederic Remington and Turn-of-the-Century America\u3c/i\u3e By Alexander Nemerov
No full textReaders of this book will learn a great deal about contemporary art criticism, a modest although unquantifiable (and mostly unverifiable) amount about Frederic Remington, and very little about the American West. The author, an art historian, applies a postmodernist, Freudian analysis to the work of the popular painter, sculptor, and illustrator. He concedes that the multiple meanings he reads into Remington\u27s work probably escaped the consciousness of the artist himself. But not to worry: The meanings of which the artist is not conscious are often those that are most powerfully revelatory of the work\u27s historical moment.
Readers who can get past this premise will have a fine time. Nemerov has a flair for drawing connections between works of art (Remington\u27s and other artists\u27), between art and literature (Jack London\u27s, Owen Wister\u27s, and others\u27, in addition to Remington\u27s), and between art and what he takes to be the collective unconscious of turn-of-the-century America. That collective unconscious, according to the author, was obsessed with sex. Thus the waterhole in Remington\u27s Fight for the Water Hole is really a vagina, the club in the hand of Paleolithic Man is a phallus, and the clams that old fellow is cracking open are miniature wombs.
Some of Nemerov\u27s inferences are downright ingenious. Who would have guessed that the African American trooper in The Charge of the Rough Riders at Sanjuan Hill is there as a reminder of the battle of Gettysburg, which began thirty-five years to the day before the signal engagement of the Spanish-American War? (The obvious reason for his presencethat black soldiers played a critical part in the battle-doesn\u27t satisfy Nemerov.) Or that that suggestive waterhole, besides being a vagina, also signifies both imperialism (the water lies at the bottom of a depression resembling the crater of a volcano, of which Hawaii, recently annexed to the United States, has several outstanding examples) and outer space (the crater also looks as though it might have been formed by a meteor)
Recommended from our members
Optical Systems and Materials for Solar Concentrators, Radar Emulation, and Computer Holography
No full textMuch of optics and photonics is concerned with the management of light, more specifically, the management or modification of an incident light field. This could include redirecting or shaping the light or managing how light scatters off an object. This dissertation looks at light management and characterization in three sets of projects involving solar concentrators, radar emulation, and computer holography.
The design and characterization of three different solar concentrator systems using a combination of concentrated photovoltaics (CPV) and concentrated solar power (CSP) are presented. These systems use either large concentration (~160x) and high efficiency multi-junction photovoltaics for high electricity generation or solar spectrum splitting to divide the solar spectrum between applications to optimize usage. These applications include simultaneous electricity and heat generation for solar desalination and simultaneous electricity generation and visible translucency for greenhouse integrated PV.
Another application of light management is radar scatter from complex structures. When structures are highly complex, computer simulations of radar scatter become very computationally expensive. One method of characterizing radar scatter is to physically emulate the system by scaling the structure size and measuring scatter using an equally scaled wavelength. Historically, this technique has mostly been limited to small scale factors <100. We extend the scale factor to 10,000-100,000, scaling Ka through S-band radar signals down to the optical/near infrared regime. 3D Models for this scale factor can be rapidly fabricated using two-photon lithography (TPL). In order to emulate different dielectric materials, the optical properties of the TPL resin at the scaled wavelength must match the unscaled system. The refractive index of the resin can be tuned by doping the material with high index nanoparticles like TiO2. Synthesis and application of such a material for TPL is demonstrated by 3D printing and characterizing micro lenses.
Lastly, a new MEMS based phase-only spatial light modulator technology is evaluated for use in computer holography. Diffraction efficiency characteristics of the device are simulated and measures across the visible spectrum. The device is also evaluated for projecting computer generated holograms and the resulting image quality is analyzed.Release after 02/05/202
Verbal behaviour development for children with autism
No full textThe utility of functional accounts of language development in establishing the emergence of generalised verbal behaviour in children with autism was evaluated through a programme of research that also investigated ways in which interactions between speaker and listener behaviour can be manipulated to maximise the effectiveness of language-based interventions. Firstly, the Early Behavioural Intervention Curriculum (EBIC) was developed as a comprehensive framework for delivering Early Intensive Behavioural Intervention (EIBI) to children with autism. Secondly, the effectiveness of the EBIC was evaluated through analysis of process data collected during the Southampton Childhood Autism Project (SCAmP). Two subsequent studies provided further controlled investigation of the emergence of naming at the single-word level, the first in vocal children with autism, and the second in non-vocal children with autism who sign. Lastly, research was carried out to evaluate teaching procedures developed to establish complex conditional discriminations in children with autism on the basis of joint control by two types of speaker behaviour. Overall, findings reported indicate that the EBIC provides an effective framework for EIBI in autism, that theoretical accounts of naming and joint control provide a practical basis for developing effective procedures for teaching verbal behaviour to children with autism, and that functional accounts of language development provide effective means of establishing both generalised verbal behaviour and other key life skills in children with autis
- …
