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The Judith Basin Roundup. The painting by Charles Marion Russell
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  • Unframed
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    Gallery Wrap Rolled Canvas

    The artist will add 3 inches (7.5 cm) of extra paint “bleed” to every 4 sides of the canvas. There will still be 1.5 inches (4 cm) of white canvas around all 4 sides of the canvas.

    Stretched
    $236.51
    Stretched
    W: 3.0 cm
  • R2018-218A
    $342.48
    R2018-218A
    W: 2.5 cm
  • R4613-236
    $342.48
    R4613-236
    W: 3.0 cm
  • R5130-204
    $423.70
    R5130-204
    W: 6.5 cm
  • R6035-220
    $454.19
    R6035-220
    W: 6.0 cm
  • R40-006
    $372.93
    R40-006
    W: 4.5 cm
  • R75-001
    $433.89
    R75-001
    W: 5.5 cm
  • R6929-302
    $454.19
    R6929-302
    W: 6.5 cm
  • R4827-234
    $403.42
    R4827-234
    W: 6.5 cm
  • R3013-236
    $352.66
    R3013-236
    W: 3.0 cm
  • R6731-226
    $474.47
    R6731-226
    W: 7.0 cm
  • R6731-224
    $474.47
    R6731-224
    W: 7.0 cm
  • R2833-204
    $372.93
    R2833-204
    W: 4.0 cm
  • R7034-296
    $474.47
    R7034-296
    W: 6.5 cm
  • R1823-204
    $362.75
    R1823-204
    W: 2.0 cm
  • R45-009
    $433.89
    R45-009
    W: 5.0 cm
  • R50-005
    $352.66
    R50-005
    W: 4.6 cm
  • R65-003-1
    $393.25
    R65-003-1
    W: 5.0 cm
  • R4827-414A
    $403.42
    R4827-414A
    W: 5.5 cm
  • R8645-298
    $575.99
    R8645-298
    W: 6.5 cm
  • R4827-224
    $403.42
    R4827-224
    W: 6.5 cm

FRAMING INFORMATION

The Judith Basin Roundup

Few artists can be said to have as much first-hand knowledge of their subject matter as Charles Marion Russell, the Cowboy Painter. Having left his family home in Missouri at the early age of 16 to become a cowboy in Montana, Russell would use that experience to inform his art, becoming instrumental in the construction of the rugged cowboy persona, an aesthetic that would last until modern cowboy movies and other media. As such, the artist would often employ his fantastic talent to portray the daily lives of cowboys, seeing poetry and humor in what for the cowboys themselves would seem like trivial occurrences.

When Russell first moved to Montana, one of the first people he had extended contact with was the hunter and trapper turned rancher Jake Hoover, a man who was Russell’s first employer as a cattle driver and sheepherder in the land he owned in the Judith Basin. But the relationship between the two men went beyond that of employer and employee, and Hoover is said to have taught Russell much of the artist knew about the ways of the West, creating a friendship that would last long after Russell moved on. Russell’s artistic career got its first boost years later when working at a different farm in the same area, and the artist’s connection to that land would generate a significant number of paintings, sculptures, and even some stories.

In this oil on canvas from 1889, painted after Russell had returned to the Judith Basin at the second time, having lived in a Native American reservation in Alberta, Canada, for two years, Russell portrayed one of those everyday experiences lived by the Judith Basin cowboys. Interestingly, the setting is portrayed here as the wide open spaces that Russell must have seen when he first went there to work, while in his correspondence to a friend from that year the artist bemoans the growth in the settling of the area, taking away its wild aspect and transforming it into an increasingly urbanized region, for early 20th century Western America standards.

That knowledge of Russell’s nostalgia can be very informative, then, to the observer, seeing this more like a throwback to simpler times, when men were men and cattle roamed freely on the plains, running away from their herd, only to be recaptured by brave, skillful, and rugged cowboys.

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The Judith Basin Roundup

Charles Marion Russell

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