Beginning in the late 1910s, Charles Marion Russell started to incorporate brighter, vibrant pigments into his paintings. His subtle change in palette showcased the influence of his contemporary Maxfield Parrish, a noted colorist who Russell had called “the greatest artist in the world” (as quoted in Rocky Mountain News, November 27, 1921, n.p.). By 1919, Russell clearly understood the reality of the impending demise of the Great American West, though never sought inspiration elsewhere. "He's so individual," wrote one critic in 1919, "that modern movements in the art world, eddying around him, never touch the big simplicity of his nature" (as quoted in P. Hassrick, "Charles Russell, Painter," Charles M. Russell: A Catalogue Raisonné, Norman, Oklahoma, 2007, p. 109).
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