Among Frederic Remington’s twenty-three bronze sculptures, Coming through the Rye is the most ambitious, featuring four animated horses and riders in a composition remarkable for being largely elevated off the work’s base, with the leftmost horse completely suspended. Based on a drawing from the 1880s and cast in an edition of apparently less than twenty, it was accurately described by the artist as "men represented as being on a carousal." Although the artist had not begun exhibiting his sculptures of cowboys and horses until 1895, he had for two decades been producing similar two-dimensional portrayals of the frontier, many widely reproduced as prints and illustrations. Collectively, these works helped construct for an increasingly settled east coast audience a romanticized image of the American West as appealingly rugged and without restraint.
Inscribed: Roman Bronze Works #2
Princeton University Art Museum: Handbook of the Collections, (Princeton, NJ: Princeton University Art Museum, 2013).
Princeton University Art Museum, Princeton University Art Museum: Handbook of the Collection, (New Haven, CT: Yale University Press, 2007).
"Acquisitions of the Art Museum 1991," Record of the Art Museum, Princeton University 51, no. 1 (1992): p. 22-78.