The Southwestern Historical Quarterly, Volume 54, July 1950 - April, 1951 Page: 15
The following text was automatically extracted from the image on this page using optical character recognition software:
Frank Reaugh-Painter of Longhorn Cattle
Frank Reaugh. His plow oxen, Tom and Jerry, were his principal
source of detail study and measurement. They would remain
still for him. Not so with the wild steer. Reaugh placed himself
on the prairie and the curiosity of a near-by wild steer brought
the animal, with his head erect, forward to investigate. It was
from this period that Reaugh took his subject for the later
paintings "Cattle Chewing Bones" and "The Approaching
Herd." In this period and later he often placed an umbrella
over him as he sat sketching on the hot prairie. On one such
occasion on the High Point prairie, the wind blew away the
umbrella. One particularly courageous longhorn decided to stand
his ground and charged into the umbrella. As it neared him
a puff of wind carried it into the air and the steer about-faced.
The remaining herd followed suit, creating a stampede. That
ended the painting for the day, for no cattle remained in sight.
To the wild steer Reaugh attributed intelligence, alertness,
and courage. In him he saw a majestic animal with varied colors
for his brush. Herds were also driven up the trail in the vicinity
of his home. Some of the last of the herds, moving about 1904
through the Indian Territory, did not seem such a beautiful sight
to me. I merely observed a slow-moving stream of shaggy, dull-
colored beasts, stirring up the dust as they were pushed along
by the "whoopee" of a drab cowboy on a mustang pony.
The boy Frank continued to do common labor by following
the plow drawn down the cotton rows by the oxen at least until
about the year 1884. About this time he taught a public school
for two months for the total remuneration of $26. All of this
he used to purchase art materials. He attended the School of
Fine Arts in St. Louis in 1884-1885. Just what he did from 1885
to 1888 is not very clear. Perhaps he was working diligently in
a formative period as a painter. It is known that he began to
instruct a few students in painting. From this source of income,
together with all other money that could be scraped together,
he went to Europe. In the winter of 1888-1889 he attended the
Julien Academie in Paris, where he studied under Lucien Doucet
and Benjamin Constant. In the spring of 1889 he traveled in
northern Europe, where he worked occasionally in the art gal-
leries. In Holland he studied under Anton Mauve, whom he
Here’s what’s next.
This issue can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Periodical.
Texas State Historical Association. The Southwestern Historical Quarterly, Volume 54, July 1950 - April, 1951, periodical, 1951; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101133/m1/37/: accessed July 22, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.