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FRAMING INFORMATION
1st Art Gallery offers the option to receive your painting ready to hang or rolled in a tube.
Currently, for safety, we're able to ship framed paintings only up to a certain size. Once the maximum size is reached, the framing option is automatically disabled.
However, if you are interested in stretching or framing a painting larger than 24x36 inches (60x90 cm), please contact one of our customer success associates or let us know in your order notes. We will send you a catalog of our large framing styles and pricing options.
Unframed rolled canvas orders will arrive rolled inside a protective tube with an extra 1.5" white canvas on all sides so you can easily frame it locally.
A small number of artists can be said to have encompassed in their body of work such conflicting word views as those explored by Charles Marion Russell, also known as the Cowboy Painter or Kid Russell, owing to his time spent in Montana working with cattle and sheep after leaving his family home in Missouri at the early age of 16. To compound that cowboy identity, Russell’s art was instrumental for the construction of the stereotypical image of the rugged cowboy venturing into the Wild West of North America, facing all kinds of dangers, most perfidious among them the threat of attacks by Native Americans. On the other hand, later in his life Russell spent two years living in a reservation in Alberta, Canada, among the Native Americans of the Blood tribe, a period that instilled in Russell an admiration and respect for the Native American peoples, especially those inhabiting the Great Plains of North America, that would accompany him for the rest of his career, greatly informing his aesthetic and choice of subject matter.
This watercolor, finished in 1914 and now in possession of private collectors, is part of that latter continuum, in which Russell made a continuous effort to depict the culture and customs of the tribes that lived in the Great Plains. Here he portrays a traditional hunting technique of the Great Plains tribes called buffalo jumping, which consisted in herding bison over a cliff to break the animals’ legs or otherwise maim them. Once the bison were driven off the cliff into a ravine, other members of the tribe would be waiting down there to come in with spears and bows to finish off the animals. The carcasses would then be processed either on-site or in nearby camps, using every possible part of the animal for the tribe’s nurture and survival, from the meat to the hooves and the bones.
That way, Russell’s accurate depiction of that millenarian practice indicates that he must, at some point, have been present in one of those events, which would have, by necessity, included most of the tribe. By portraying those practices, Russell hoped to aid in keeping the Native American memory alive, even if contemporary critics might see his efforts with a more Orientalist bias since it still was, to an extent, an outside perspective on a cultural practice offered without context.
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Important Notes About Your Painting:
If you have any request to alter your reproduction of Driving Buffalo Over the Cliff, you must email us after placing your order and we'll have an artist contact you. If you have another image of Driving Buffalo Over the Cliff that you would like the artist to work from, please include it as an attachment. Otherwise, we will reproduce the above image for you exactly as it is.
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