Home Forums Explore Subjects Southwest and Western Art Remington’s pallet

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  • #991037
    Donna G.
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        I figured I’d ask y’all since there’s some really great artists here….would y’all know what Remington’s pallet colors would be? I love how alot of his paintings have that “washed out” yellowish hue to them. Like high noon in the middle of summer…it’s hard to tell by looking at his paintings online but if you’ve seen them in real life they are just amazing. Like you can almost feel the sun beating down on you. I’ve tried to google it and search in some books about him but haven’t come up with anything.

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        #1189862

        I’m afraid I can’t help you on that one. I imagine his work on site proved most helpful in his choice of colors. I’m a big fan of Remington’s work, but have never come across anything that told of his color palette. I would suggest perhaps just copying some of his paintings and take note of the colors you find most similar to his original works. That might be the best way to learn. :)

        Jenna

        My website: https://www.thecozyred.com/

        #1189861
        Studio-1-F
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            I figured I’d ask y’all since there’s some really great artists here….would y’all know what Remington’s pallet colors would be? I love how alot of his paintings have that “washed out” yellowish hue to them. Like high noon in the middle of summer…it’s hard to tell by looking at his paintings online but if you’ve seen them in real life they are just amazing. Like you can almost feel the sun beating down on you. I’ve tried to google it and search in some books about him but haven’t come up with anything.

            Y’all might be talking about his “tonalist” phase, which he got into later in his life. Here are a few books that might help:
            1. Hassrick, Peter H. and Melissa J. Webster. Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings. Cody, Wyoming: Buffalo Bill Historical Center (in association with the University of Washington Press), 1996. Two volumes listing all known paintings, watercolors and finished drawings, with an illustration for each. Catalogue arranged by date with information on materials, size, early publication data and current location. Accompanying CD-Rom reproduces catalogue and contains additional information on ownership and exhibition history. Essays provide background on Remington and the literature about him. Comprehensive bibliography. Indispensable for studying Remington as a painter.
            2. Keto, Kelly. Remington, the Years of Critical Acclaim. Santa Fe, New Mexico. The Peters Corporation, 1998. Focuses on the last years of Remington’s career, 1905 – 1909, when the change in the artist’s style brought him critical recognition. Features an important essay on Remington’s tonal aesthetics and night paintings, “The Nocturne Paintings of Frederic Remington” by Melissa Webster. Published by an art gallery, the publication also includes a selection of plates of paintings and sculpture with cataloguing information.

            Biographies can sometimes have detailed descriptions of palette and technique. Here’s one: Samuels, Peggy and Harold Samuels. Frederic Remington: A Biography. Garden City, New Jersey: Doubleday, 1982. Thorough biography of the artist; contains a wealth of anecdotes, quotes and photographs. A good source of detailed background information.

            Full annotated bibliography is here[/URL].

            You also might try contacting the director/curator of the Remington Museum in NY. She might be able to describe his palette of colors to you in more detail. Contact info is here.

            Hope this helps! Interesting topic for research!! :thumbsup:

            Jan

            #1189863
            Donna G.
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                Thanks for the info Jan!!! I’m gonna keep an eye out for those books :)

                Jenna, you may be right. If I survive work/summer and can get back into my studio sometime I might just give it a shot :D

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                #1189860

                Donna..could be a mystery as to what paint choices he used but with modern paint names and if I were trying to match what you describe I see these mixes in these paintings:

                The Puncher..a grayed yellow ocher (sand color)

                Cavalryman of the Line, Mexico 1899..a yellow-orange slightly grayed (blue, blue-violet)

                The Sentinel..light orange base with a reddish tint (crl) with lots of white to gray

                His Last Stand (bear hunt) ..a yellow-orange (more yellow) slightly grayed, lot of white

                His pastels are more like you describe. Sioux Chief and Infantry Soldier. These appear to be on a yellowish paper.

                If it were me, I would start with some white, add the yellow then the red to get the general hue. Then add some blue or blue violet (the blue-violet is usually a better choice, the blue has a tendency to turn greenish if not the right value to begin with).

                Another thing that I have learned is to match a color to a reference it is easier to mix with a palette knife and hold the mix up to the ref on the knife to compare. It is much more difficult on the brush.

                Getting to a desired hue is mostly a matter of adding a bit of this, then a bit of this until you get it.

                Good luck and hope this was helpful,
                Max

                #1189864
                Donna G.
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                    Max, you’re a rock star! Thanks for such great info. I’m looking forward to getting into my studio and maybe doing a copy like you’ve done (hopefully with as great as a result as you had) :D

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                    #1189865
                    RKGoethe
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                        ANy time you’re wondering about materials and techniques, type in the name of the artist and ‘materials and techniques’ in to a search bar. Museum Conservationists very often examine a paintings components thoroughly so they can mitigate deterioration from point of acquisition. Here’s what I found for Remington: a pdf from a show catalogue from the NGA. Page 200 onward is the good stuff materials-wise. He experimented a lot, but here’s a quick list: Prussian, Bone, Flake, Vermillion, Cad red and yellow, Chromium yellow and orange, emerald green, Chromium oxide green, and Hooker’s. (Btw, hookers was a mix of Prussian and gambouge, or later chrome yellow or nickel azo)..

                        Here’s the source link to the NGA pdf: https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/frederic-remington.pdf

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