Creative Connections

Our current exhibition, Charles M. Russell: Storyteller Across Media, focuses on the artist’s talent and ability to tell stories – largely set in the American West – through his art. When Hollywood emerged in the 20th century and began producing Westerns, many of the great film directors like John Ford often looked to artists like Russell as a visual model for storytelling. How does one tell the story of a Western? And what happens when the themes of the Western, this quintessential American genre, transform through changes in cultural constructions and acquire new meanings when it transcends borders? Stories of [...]

Our current exhibition, Charles M. Russell: Storyteller Across Media, centers around the artist’s talent to tell stories through his visual art. Famous for his narratives set in the open range of Montana, Russell wasn’t the only storyteller of the American West. In the early 20th century, Chip of the Flying U was a popular novel about a ranch in Montana and was written by B. M. Bower. Who was this writer? She was Bertha Muzzy Bower, likely the first female author of mass-market Western fiction.   Portrait of B. M. Bower, circa 1890. Courtesy Cascade County Historical Society [...]

This past summer, our director Scott Winterrowd took a work trip up to Montana to visit and document the sites where Charles Russell lived and worked. Throughout the cowboy artist’s career, he was not always specific about the landscapes he painted as backdrops for his artworks. Instead, like many other artists, Russell would translate what he saw through his artistic lens and his own way of looking at the world. Often, the resulting landscape would be a compression of the vast spaces of “Big Sky” country. One of the main points of inspiration for Russell was in what is now [...]

During his residence in Montana, Charles Russell encountered Indigenous people, both on the northern plains of the state and from neighboring tribes in Alberta, Canada. He lived in the area where Plains Indian Sign Language (PISL), also known as Hand Talk among the Native community, was an important communication system among the Plains tribal members. Due to his relationships with many members of nearby Indigenous tribes, Russell learned signs of PISL and incorporated them into some of his paintings.   Mapping of North American Indian Sign Language     Outline of corresponding tribes with various regional variations [...]

Our current exhibit, Charles M. Russell: Storyteller Across Media, focuses on all the different art forms through which the artist communicated a story in his work. One of the common narratives in Russell’s art is that of the relationship between Indigenous people of the Great Plains and the American bison. (Note: while bison is the scientific name, buffalo is the more familiar term used today.)   Charles M. Russell | Wounded (The Wounded Buffalo) | 1909 | Oil on canvas | 19.975 x 30.125 inches   What does that relationship look like today? A great example is taking [...]

Every cowboy hat has a story to tell. When you walk through our galleries here at the Sid Richardson Museum, you’ll not have to journey far before you encounter an artwork featuring a figure in a Western-style hat. But not each hat is the same. Every cowboy hat carries the history of its wearer, whether that be Mexican vaquero hats, Charro hats, the hats of western performers or rodeo stars, and of course the working cowboy hats. So let’s take a journey through some highlights from our collection to explore the evolution and different iterations of the cowboy hat.   [...]

The impact of Charles Russell’s friendship with pioneer dude rancher Howard Eaton appears twice in our current exhibit, Charles M. Russell: Storyteller Across Media. The first occurrence is in Russell’s 1916 oil painting Man’s Weapons Are Useless When Nature Goes Armed. In the bottom left corner viewers will see an inscription to Eaton from his friend CMR.   Charles M. Russell | Man's Weapons Are Useless When Nature Goes Armed (Weapons of the Weak; Two of a Kind Win) | 1916 | Oil on canvas | 30 x 48.125 inches   Detail of Man's Weapons showing Russell's [...]

What do we see when we picture the American West? Perhaps Native women, elderly Indigenous men, or Anglo cowboys. Commonly imagined through art and film, these have been the consistent images of the American West that are still accepted to this day and that, until recently, very few people have questioned. This imagined West was very real for generations of people and remains the way that, for many people, we picture this place. Another way the “Old West” is imagined and imaged is through erasure; a time and place that is supported by those we do not see. In a [...]

“Few who would acquire a knowledge of the heavens, let him give up his days and nights to the marvels of Orion.” - Charles Edward Barns, a writer and hobby astronomer of the late 19th century   Frederic Remington completed over 70 compositions of night scenes from 1900 until his death in 1909. The artist referred to these paintings as his moonlights, and today we refer to them as nocturnes. The Sid Richardson Museum has 5 nocturnes in its collection. Our current show, Night & Day: Frederic Remington’s Final Decade, features 10 of Remington’s night paintings. Nocturnal images were crucial [...]

*The following is researched and written by Dr. Mark Thistlethwaite, Professor of Art History Emeritus, Texas Christian University* Among the striking artworks currently on view in the exhibition Night and Day: Frederic Remington’s Final Decade, I found The Herd Boy (ca. 1905; fig. 1) to be particularly intriguing. I am impressed by how Remington plays off the details of the shivering young man mounted on his scrawny horse against the vagueness of the vast frozen landscape and how the amazingly frenetic brushwork of the windswept foreground contrasts the resigned rootedness of the horse. I am also captivated how Remington suggests [...]