1901
Oil on canvas
102.24 cm (40.25 in.) x 69.22 cm (27.25 in.)
Amon Carter Museum, United States.
As the twentieth century began, Remington found himself very busy with commissions from several magazines. One of these was to illustrate a three-part series by Emerson Hough titled “The Settlement of the West: A Study in Transportation,” for The Century Magazine. Echoing the popular beliefs of the period, Hough approached his subject with a general nostalgia for what he termed the “glorious drama” of the history of the West. One of the illustrations Remington produced was taken from the evocative painting seen here; it appeared as a color plate in the January 1902 issue of the magazine, to accompany the second installment of Hough’s epic story. The author described the great days of stagecoach travel, including the two-thousand mile run from Atchison, Kansas to Helena, Montana, which taxed even the most hardy travelers. Hough also noted that the stagecoaches sometimes fell prey to robbers or hostile Indians, so there was always the possibility of danger. The need for vigilance seems to be the subject of Remington’s painting, which shows a stagecoach traveling in a nocturnal landscape. Sitting atop the coach and silhouetted against the starlit sky is a watchful figure holding a rifle. The whole work is loosely painted with shadowy hues that occasionally are marked with glimmering highlights of color. Just a few years earlier, in 1899, Remington had seen an exhibition of nocturnal scenes by the California artist Charles Rollo Peters at the Union League Club. Inspired by that exhibition, Remington began to experiment with a more narrow and muted color range in some of his paintings, including The Old Stage Coach of the Plains. Gradually, as he does here, Remington began to eliminate detail from his works in favor of a more general mood and atmosphere. In this painting, the viewer senses a feeling of tension and foreboding, evoked not only by the artist’s use of subject matter, but also color and form.
The Old Stage–Coach of the Plains is one of Remington's most dramatic early nocturnes. Against a starry night sky, the candlelit coach tumbles forward into the viewer’s space. A guard, his rifle poised, sits atop the coach scanning the horizon for danger, again, undefined.
Critics quickly took notice of Remington’s nocturnes and applauded his efforts, but the artist himself remained discouraged by what he perceived as his inability to capture accurately the colors of night. In 1905 he expressed his frustration to a friend: “I’ve been trying to get color in my things and still I don’t get it. Why why why can’t I get it. The only reason I can find is that I’ve worked too long in black and white. I know fine color when I see it but I just don’t get it and it’s maddening. I’m going to if I only live long enough.”
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