Near the end of his life, he moved to Ridgefield, Connecticut. He wrote, "there is nothing left but my landscape studies". One night he made a bonfire in his yard and burned dozens of his oil paintings which had been used for magazine illustration (worth millions of dollars today), making an emphatic statement that he was done with illustration forever. Remington tried to sell his home in New Rochelle to get further away from urbanization. The financial panic of 1907 caused a slow down in his sales and in 1908, fantasy artists, such as Maxfield Parrish, became popular with the public and with commercial sponsors. history, did not fair well with the public or the critics. His "Explorers" series, depicting older historical events in western U.S. His large outdoor sculpture of a "Big Cowboy", which stands on the East River Drive in Philadelphia, was another late success. In 1905, Remington had a major publicity coup when Collier's devoted an entire issue to the artist and his art, showcasing his latest works. After this everything will be mere fuss." Roosevelt responded, "There could have been no more appropriate gift from such a regiment." When the Rough Riders returned to the U.S., they presented their courageous leader Roosevelt with Remington's bronze statuette, The Bronco Buster, which the artist proclaimed, "the greatest compliment I ever had. His reports and illustrations upon his return focused not on heroic generals but on the troops, as in his Scream of the Shrapnel (1899), which depicts a deadly ambush on American troops by an unseen enemy. However, his heroic conception of war, based in part on his father's Civil War experiences, were shattered by the actual horror of jungle fighting and the deprivations he faced in camp. He witnessed the assault on San Juan Hill by American forces, including those led by Roosevelt. Remington's association with Roosevelt paid off, however, when the artist became a war correspondent and illustrator during the Spanish-American War in 1898, sent to provide illustrations for William Randolph Hearst's New York Journal.
He invested his entire inheritance but Remington found ranching to be a rough, boring, isolated occupation which deprived him of the finer things of Eastern life, and the real ranchers thought him a lazy playboy.
In 1883, Remington went to Peabody, Kansas to try his hand at the booming sheep ranching and wool trade, as one of the "holiday stockmen", rich young Easterners out to make a quick killing as ranch owners. From that first trip, Harper's Weekly published Remington's first published commercial effort, a re-drawing of a quick sketch on wrapping paper that he had mailed back East. Wyeth and Zane Grey, who arrived twenty-five years later when the Ol' West had slipped into history. Though the trip was undertaken as a lark, it gave Remington a more authentic view of the West than some of the later artists and writers who followed in his footsteps, such as N. Cavalry and native American tribes, scenes he had imagined since his childhood. In the Ol' West of 1881, he saw the vast prairies, the quickly shrinking buffalo herds, the still unfenced cattle, and the last major confrontations of U.S. At nineteen, he made his first trip west, going to Montana, at first to buy a cattle operation then a mining interest but realized he did not have sufficient capital for either. Living off his inheritance and modest work income, Remington refused to go back to art school and instead spent time camping and enjoying himself. After the rejection of his engagement proposal to Eva by her father, Remington became a reporter for his Uncle Mart's newspaper, then went on to other short-lived jobs. Remington's Uncle Mart secured a good paying clerical job for his nephew in Albany, New York and Remington would return home on weekends to see his girlfriend Eva Caten. His father died a year later, at age forty-six, receiving respectful recognition from the citizens of Ogdensburg. He left Yale in 1879 to tend to his ailing father who had tuberculosis. Though he was not a star player, his participation on the strong Yale football team was a great source of pride for Remington and his family.
He preferred action drawing and his first published illustration was a cartoon of a "bandaged football player" for the student newspaper Yale Courant. However, he found that football and boxing were more interesting than the formal art training, particularly drawing from casts and still life objects. Remington attended the art school at Yale University, the only male in the freshman year.
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