What an Unbranded Cow Has Cost, 1895 by Frederic Remington
Canvas Print - 17017-RGN
Location: Yale University Art Gallery, Connecticut, USAOriginal Size: 71.3 x 109.2 cm
Giclée Canvas Print | $54.64 USD
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*Max printing size: 26.8 x 41.3 in
*Max framing size: Long side up to 28"
"What an Unbranded Cow Has Cost" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
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If you select a frameless art print of "What an Unbranded Cow Has Cost" by Frederic Remington, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
The story behind this painting unfolds in the late nineteenth century, where the lawless plains of the American frontier became a battleground for the so-called “cattle wars.” The struggle over an unbranded cow—a trivial detail on the surface—here becomes a symbol of rampant, sometimes tragic, disputes among ranchers. While the artist ostensibly intended to glorify the cowboy, the desolate aftermath hints at how such myths were already crumbling in the face of social change. One sees how these plains, once the stage for freedom and individualism, were gradually being subsumed by powerful cattle barons, displacing smaller homesteaders in the process.
Even before noting how the figures are arranged, one senses that the composition is designed to lead the eye from the bleak foreground to the horizon, where distant riders hover in a pale, dreamlike space. The shooting has ended, but the tension remains palpable. There is a sharp visual pull toward the central standing cowboy, his revolver still pointed, with fallen horses and men scattered around him. This arrangement pulls the viewer’s vision outward in circular sweeps, capturing the aftermath of violence and the sobering cost of a single confrontation.
What grips the viewer next is the raw depiction of survival. The central figure stands resolute, his stance reminiscent of a man abruptly confronted with his own mortality. You see the bodies sprawled across the sandy terrain, each figure telling a grim tale of the fallen—both human and horse. The color palette’s muted browns, grays, and thin, searing yellows conjure a place that feels at once vast and hostile. These subdued hues highlight the oppressive sunlight and underscore the dryness that clings to every inch of the canvas. Light emerges on the horizon but offers no solace, serving more as a distant beacon of change than a comforting glow.
On a technical level, the brushwork balances clarity and suggestion. The foreground retains crisp detail, grounding the violence in unsettling realism, while the background melts into a softer haze, evoking the dreamlike heat of the desert. This deft handling elevates the emotional pitch without descending into melodrama. Instead, the painting conveys the stark truth of the frontier’s frailty. The mythic cowboy, far from a triumphant conqueror, stands amid carnage that signals the end of an era. As such, this unsettling scene remains a poignant marker of how America’s nostalgic visions of the West were colliding with the realities of modern expansion.
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