In his two-dimensional works Remington often depicted the unruly cow ponies in mid-air with all four hooves off the ground. Though an impossible order for a single figure sculpture, Remington nevertheless endeavored to represent the horse in a gravity-defying pose. Riccardo Bertelli, head of the Roman Bronze Works, and his staff clearly overcame the obstacles posed by Remington's design and the resulting sculpture is a study in suspended animation. The hindquarters of the bucking horse are nearly vertical while its rider, with a graceful arch of his back, balances himself in the saddle. With both man and horse perched on a single front hoof, the entire figure appears to float above the base.
With Bertelli's help, Remington was able to take greater advantage of bronze's strength through the use of the lost wax process, which allowed him to create the design for The Outlaw. Remington began working in the lost wax casting method in 1900 when he moved to Roman Bronze Works, a foundry which worked exclusively in this process. The lost wax technique resulted in greater detail and surface texture and also permitted the artist to make changes to his compositions throughout the casting process. Remington would produce an initial clay model in his studio in Rochester, New York and then send that model to Roman Bronze Works to be duplicated in wax. Once the wax model had been created, Remington would go to the foundry to make his final alterations before the bronze casting began.
According to the Roman Bronze Works ledgers, 15 castings of The Outlaw were produced before Frederic Remington’s death in December 1909. Prior to the death of his wife Eva in 1918, approximately 25 additional castings were made.
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