The Unconventional Genius of Charles M. Russell

In 2015, the Amon Carter published the final installment of its triad of major publications on the art of Charles M. Russell (1864–1926). The three volumes began in 1993 with Brian Dippie’s landmark work on Russell’s illustrated letters, Charles M. Russell, Word Painter, followed the next year by Rick Stewart’s opus Charles M. Russell: Sculptor.

The third volume—Charles M. Russell: Watercolors, 1887–1926—focuses on the artist’s watercolor output. Rick Stewart, who was the Amon Carter’s director for a decade, authored the principal essay in the book. In a companion essay, Jodie Utter, conservator of works on paper at the Amon Carter, conducted the first scientific study of Russell’s watercolor techniques and materials.

The book, 496 pages in length, is available exclusively from the Amon Carter’s store. But
here, the museum makes available Utter’s essay, which explores for the first time how the Cowboy Artist painted, in one of the most unforgiving of creative mediums, his beloved masterworks of the American West. But