The Southwestern Historical Quarterly, Volume 70, July 1966 - April, 1967 Page: 683
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to be a "cowhand." He never made it really as cowhand, rank-
ing merely as wrangler and nighthawk, but he was obsessed
with the vocational know-how that allowed the winning of the
West. This, too, he records, along with snowdrifts and animals
and Indians. According to Frank Dobie, nobody ever painted
as well as Russell the folk and the customs of range life.
At age 3o, Russell married a seventeen-year-old lass who be-
came, surprisingly, his business manager. From trading his draw-
ings or models or paintings for drinks in saloons, he sold them
to eastern magazines; the editors could not get enough of his
works. A Russell "cult" developed: European royalty, celebri-
ties such as Douglas Fairbanks and Will Rogers, paid $ o,ooo
for a Russell canvas.
In time one of the great collections of Russell's work was
assembled by Amon G. Carter, the most famous name in the
history of Fort Worth. His daughter, in a foreword to this vol-
ume, writes with taste and charm of the relationship of a Texas
career like that of her father to, the plucky and courageous-and
successful-career of Russell. Somehow, this introduction draws
everything into a perfect circle. In this magnificent volume, the
great painter who was made available to the public by the great
collector through the Amon G. Carter Museum of Western Art
is now introduced to the general and international public by
the intellectual power-house that the University of Texas Press
Southern Methodist University
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 70, July 1966 - April, 1967, periodical, 1967; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth101199/m1/715/: accessed April 30, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.