Currently not on view
Coming through the Rye
Although the artist did not begin exhibiting his sculptures of cowboys and horses until 1895, he had for two decades been producing similar two-dimensional portrayals of the frontier, many widely reproduced as prints and illustrations. Collectively, these works helped construct for an increasingly settled East Coast audience a romanticized image of the American West as appealingly rugged and without restraint.
More Context
Handbook Entry
Among Frederic Remington’s twenty-three bronze sculptures, <em>Coming through the Rye</em> is the most ambitious, featuring four animated horses and riders in a composition remarkable for being largely elevated off the work’s base, with the leftmost horse completely suspended. Based on a drawing from the 1880s and cast in an edition of apparently less than twenty, it was accurately described by the artist as "men represented as being on a carousal." Although the artist had not begun exhibiting his sculptures of cowboys and horses until 1895, he had for two decades been producing similar two-dimensional portrayals of the frontier, many widely reproduced as prints and illustrations. Collectively, these works helped construct for an increasingly settled east coast audience a romanticized image of the American West as appealingly rugged and without restraint.
Information
1902
United States, New York, Corona, Queens, New York, Roman Bronze Works
"Acquisitions of the Art Museum 1991," <em>Record of the Art Museum, Princeton University </em>51, no. 1 (1992): p. 22-78., p. 29, p. 31 (illus.)
3085 1992<em>Princeton University Art Museum: Handbook of the Collection</em> (New Haven, CT: Yale University Press, 2007), 172 (illus.)
474 2007<em>Princeton University Art Museum: Handbook of the Collections </em>(Princeton, NJ: Princeton University Art Museum, 2013), p. 222
1994 2013
