American Painter, 1864-1926 American painter and sculptor. In 1880 he left his upper-class home in St Louis for Montana Territory. He worked briefly on a sheep ranch, spent two years as a hunter's and trapper's assistant and then became a cowboy. During his considerable spare daytime hours he painted, sketched and modelled small animal figures in clay (e.g. Antelope, 1915; Fort Worth, TX, Amon Carter Mus.). Although he painted a few exceptional oils and watercolours prior to 1900, the vast majority of his best work was done in the last two decades of his life. Typically the subject-matter centres around cowboy life (e.g. Wagon Boss, 1909; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.) and the Plains Indians, for whom he had great respect. The luminous Piegans (1918; Denver, CO, Mus. W. A.), with its depiction of the Plains Indians, is a reminder of the vastness of the American West. Russell's sense of humour and empathy for his subject-matter radiates from his paintings as pleasingly as do the clear colours of the high country. His bronze sculptures (e.g. Buffalo Hunt, 1905; Denver, CO, Mus. W. A.) depict the same dramatic and tension-packed themes as his paintings.  Related Paintings of Charles M Russell :. | The young faggot gatherer | Friend Tex | Bronc to Breakfast | Joe Kipp-s Trading Post | Intruders |
Related Artists:
johnwilliam waterhouse,R.A.
English Pre-Raphaelite Painter, 1849-1917
CASTIGLIONE, Giovanni Benedetto
Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.
Rae Iso
Melbourn 1860-Brighton 1940