artist at work
Copyright Š 2009 Kenneth M. Freeman Legacy LLC All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without written permission from the publisher.
Published by: Kenneth M. Freeman Legacy LLC 10755 East Cactus Road Scottsdale, AZ 85259 602.793.7990 www.KennethMFreeman.com
Design by DM Productions LLC - Mike Vialpando - Douglas Collins - Bonnie Adams Website: www.DMProductionsLLC.com Printed in the United States of America Heritage Graphics - Phoenix, Arizona
ISBN 978-0-9843928-0-3 First Edition (Limited to 1000 copies)
artist at work Kenneth M. Freeman (1935 - 2008)
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A Kiowa poet once remarked that the American West is a place that has to be seen to be believed, and it may have to be believed in order to be seen. Kenneth M. Freeman had the talent to draw, paint and sculpt the West as he had seen and experienced it. His unique combination of light and depth of color, together with rich cultural heritage, has left us with a body of work that connect with the soul and spirit of the American West. Ken was affectionately called The Rembrandt of the Rodeo by members of the press. The painting technique Ken learned at the American Art Academy interpreted the personalities that characterize our most common perceptions of the West -- the cowboys and cowgirls, Native American elders and children, the Buffalo Soldiers, mountain men, and, of course, the rodeo heroes. As actor Robert Fuller stated, “Ken was a cowboy.”
Ken was a cowboy for artist Kenneth M. Freeman, the cowboy hat and boots were not a gimmick. Neither was his Arizona attitude.
For artist Kenneth M. Freeman, the cowboy hat and boots were not a gimmick. Neither was his Arizona attitude. Ken Freeman may have grown up in a traditional Jewish home in Chicago, Illinois, but make no mistake … he was a cowboy. He was our friend. Douglas W. Collins Dianemarie T. Collins
Cody
Someone’s Coming
American Born
oil on canvas
oil on canvas
oil on canvas
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John Wayne oil on canvas (18 x 16)
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( clockwise from left)
Rabbi Doing Tflim Oil on Canvas
Tracy Oil on Canvas
Dori Oil on Canvas
Alice Oil on Canvas
Soldier
Kenneth M. Freeman a portrait artist
Oil on Canvas
Bonnie Burnt Umber Underpainting
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In the archives of the American Academy of Art there are many original works of art. They span the entire history of the school from 1923 to the present ... early work by Haddon Sundblom, Gil Elvgren, J. Allen St. John, Richard Schmid, Thomas Blackshear, Alex Ross and many others. However, there was one painting among them that always got my attention. I would take it down from the storage rack and admire it often. A nude figure study, nothing exceptional there, but this one had something the others did not. All I could make out about the painting was a faded signature ... Freeman, 1955. The Academy is like a home to its former students. Hardly a week goes by where I don’t meet or hear from an alumnus. Some of them reach back into the 1940’s, still holding close those fond memories. One day a man arrived and introduced his wife and himself to me. He gave me some of his history. He was a western painter, worked with Haddon Sundblom, is building a new studio ... I wondered how someone who seemed to be so young had worked with Sundblom. His energy and enthusiasm were incredible. He was like a kid ... and I mean that in the best way possible. This was Ken Freeman and I knew from that first meeting I would never forget him. He asked “You still have my painting?” It was then I realized the man who created that beautiful painting I so loved was standing right in front of me, 50 years after he painted it.
Kenneth Freeman began taking classes at the American Academy of Art in the summer of 1950 at the ripe old age of 15. He had won a scholarship to the school sponsored by the Latham Foundation. And, as noted on his record by Academy founder, Frank H. Young, “saw excellent samples.”
american academy of art permanent collection
Freeman would study illustration, life drawing, fundamentals and painting primarily during the summer break from John Marshall high school. His last class ended on April 22nd of 1955. After Ken’s visit we would keep in touch. One day he called to inform me that he will be leaving the school an endowment. I thanked him and we moved on to other topics his, new studio and upcoming trip to Italy. Some time later I got another call and he informed me it was done, in writing. We discussed his wishes as to what the school could do with this gracious gift. And then one day Ken was gone. I don’t think anyone who met Ken believed he would ever leave us. And really he hasn’t. His spirit will be with us forever, ageless and eternal. This is why Ken and his art were so unique. ike that painting from 50 years ago. Even then he was able to capture his wonderful light and transfer it to a canvas. No easy task for any artist. But there was only one Kenneth Freeman. Aron Gagliardo American Academy of Art Chicago 2009
Kenneth M. Freeman Nude (Untitled) Oil on Canvas - 1955
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When Kenneth Miles Freeman was a mere six-year-old growing up in Chicago, his mother had already recognized his enthusiasm for and talent in art. One Saturday she took her wide eyed boy to the Art Institute of Chicago. Shortly thereafter he began art lessons. When he was eight he told his mother, “clear out the living room so I can have my studio.” Ken commandeered the TV table for his palette and continued to use this same palette throughout his career. He announced that he would someday be a famous artist and that he would apprentice with Haddon Sundblom.
Kenneth M. Freeman a jewish artist from chicago, born with a cowboy spirit.
Each year Stanford University granted one full scholarship to the art school of choice for the winner in each of five regions nationally. Kenneth M. Freeman won every year among students from 10 states and chose to study at the American Academy of Art under the tutelage of Bill Mosby while in high school. He studied privately with Joseph DeSalvi and ultimately apprenticed with Haddon Sundblom. He graduated from art college just one year after completing high school and then launched a 20-year successful career as an illustrator.
While an illustrator, Freeman’s interest in portraits and subjects of the West intensified. John Singer Sargent had always been his idol as a portrait artist, and Ken maintained a portrait style in all his art forms including oil, bronze, and most recently in etched glass. His models were unanimously impressed by his ability to capture on canvas the essence of humanity. Freeman won first prize for a portrait of his daughter Dori at the Illinois State Fair. Other accolades include: winning the Salmagundi Show in New York City, the Union League Club of Chicago, being chosen five times as artist for the Parada del Sol Rodeo in Scottsdale, Arizona and having a painting selected for the 1988 Prescott Centennial Rodeo. That painting was used as the inside cover of Arizona Highways. He was also famous for painting original art for the Hashknife pony express ride three years running from which posters have been made and sold in U.S. Post Offices. Senator Jon Kyl of Arizona chose two of these posters for display in the Library of Congress and are included in the American Legacy Project.
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Southwest Art Magazine has also written feature articles about him and displayed many of his rodeo and native American pieces which are well recognized and respected. Freeman earned the honor of creating the art for the 50th anniversary of the Orange Blossom Festival Rodeo in Davey, Florida. Ken’s painting entitled “Heluva Good Morning” won Pick of the Show in “The Cowboy” competition at the San Diego Museum of Fine Art. Ken Freeman was known affectionately as “Rembrandt of the Rodeo” by members of the press. Television and radio frequently interviewed Freeman and showed his colorful and masterful works to the public. First Lady Barbara Bush was sufficiently impressed with Ken’s southwestern art, that she invited him to show at the Smithsonian Institute in conjunction with the planned Native American Museum extravaganza. In addition to creating book covers for Louis L’Amour and other Western authors, Freeman produced original art for Hamilton Collectibles, a ten plate series called “Proud Indian Families.”
His notable clients for portraits included the late President Herbert Hoover, elder Okland of the Mormon Church and founder of Okland Corporation, the New Mexican ranching Bogle family, professional accordionist Sherwin Wasserman, country western recording artist Ray Herndon, Senator Lister Hill, the Chicago restaurateur Mr. Biocetti, Chairman of the Duro Corporation, and many famous actors. The American Medical Association annually commissioned Freeman as their official portrait artist for a decade. Kenneth M. Freeman was featured in a one man show in Milan, Italy in 2007 complete with a catalogue of his work. He did several custom portraits for the Festival of the West including John Wayne, John Smith, Robert Fuller and Waylon Jennings. Thankful for his success, he proudly donated to charities, particularly those that benefit abused women and the elderly in hospice care. Ken Freeman enjoyed creating art every day of his life. He always spoke of his mother’s encouragement reverently.
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During the late 1800s and early 1900s, the Buffalo Soldiers were assigned to the harshest and most desolate posts. Specific duties included subduing Mexican revolutionaries, outlaws, commancheros, rustlers and hostile Native Americans. Additional administrative duties included exploring and mapping the Southwest, and establishing frontier outposts for future towns. The Buffalo Soldiers fought in the Indian Wars of the American West, the Spanish American War of 1898, WWI and WWII.
Motto: “WE CAN: WE WILL�
Kenneth M. Freeman the buffalo soldiers
Their adversaries, whether Indians, outlaws, Mexican revolutionaries, or gun smugglers, found that the Buffalo Soldiers, like their namesake, could not easily be diverted from their trail. Whatever the reason for the name, the Buffalo Soldier has come down in American military history as one of the proudest individuals of all.
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I found myself liking this little man with the “Eastern” look straw cowboy hat and I guess that was the start of our friendship. Ken was always full of life and plenty of energy to spare. When he finally joined our organization, he worked, tirelessly, to promote the true history of Buffalo Soldiers. Ken believed that those original soldiers were using our group to let America know of their contribution to the building of this great nation. He was also convinced that I, specifically, was chosen to give them voice so their stories could be heard by all. Ken had the true spirit of the Buffalo Soldier in him. He was one of the rare people that realized that although in the document authorizing the forming of the all-black regiments in 1866 stating that the Officers must be white. The all-white officers were just as much Buffalo Soldiers as the troops they commanded.
My Friend... Kenneth Freeman
When Ken painted, he brought this spirit out in his subjects. There are, possibly, hundreds of Buffalo Soldier paintings on the market today ... but none ...I repeat ...none (in my opinion), can equal the soul Ken put into his. He even took the Buffalo Soldiers worldwide. His renditions of Native American individuals is magnificent. The very essence of the warrior literally jumps at you from the canvas. My friend has moved on. I know he wanted to stay, but I think God had something more important for him to do. So ... Captain Kenneth M. Freeman ... my dear, dear friend ... Keep your cinch tight, ride easy and keep your eyes on the horizon. I will see you at our next post. William “Bill” McCurtis Regimental Sergeant Major 9th Memorial United States Cavalry
Sergeant Major Bill McCurtis
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Kenneth M. Freeman illustrator: poster designs
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Kenneth M. Freeman got the Louis L’ Amour commission to do the book cover for Fallon. Louis L’ Amour showcased paintings by artists whose work brings to life the men and women who settled the frontier. Each painting was created as cover art for either a classic Louis L’ Amour novel or a short-story collection depicting the author’s favorite spots in the West. This was the story concept given to Ken so that he could do his painting: Macon Fallon had never needed much more than a deck of cards, a fast horse, and a ready gun.
Kenneth M. Freeman illustrator: book cover designs Louis L’Amour’s Fallon
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burnt umber underpainting Ken sketched on the canvas or board with pencil, then did a full value burnt umber painting where he worked out all the values and made any changes he wanted to make in the picture. He used burnt umber straight from the paint tube, mixed with turpenoid.
Kenneth M. Freeman’s technique
pencil sketch on canvas
When this was dry, he laid down the color.
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Impending Decision IV This is the last work of Kenneth M. Freeman and the fourth image of the Impending Decision Series. At the left, you can see Ken’s easel, paints, brushes as he left them.
unďŹ nished oil on canvas (20 x 16)
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Kenneth M. Freeman Look for the Western Artists of America symbol on many of Ken’s paintings. He was a proud member. Western Artists of America Membership is open to both men and women and is based solely on artistic ability and talent.
Prominent Collections Kenneth M. Freeman - The Library of Congress - The Smithsonian Museum - The Booth Western Art Museum - The American Art Academy
Membership is limited to 24 members.
Noteworthy Art Shows
Kenneth M. Freeman collections
Kenneth M. Freeman - The Phippen Museum - The San Diego Museum of Art - The Hubbard Museum of Western Art - Chicago’s Union League Club - The Illinois State Fair - North Trust Bank of Scottsdale - Fondazione Metropolitan, Milan, Italy
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Tough Draw oil on canvas (24 x 30)
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Hard Days Night oil on canvas (16 x 20)
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Eight Seconds to Glory oil on canvas (24 x 30)
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Little Princess oil on canvas (9 x 12)
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My New Blue Scarf oil on canvas (8 x 10)
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Welcome Home oil on canvas (24 x 30)
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Bright New Morning oil on canvas (24 x 30)
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Looks Like a Wet One oil on canvas (20 x 24)
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Hereford Time oil on canvas (20 x 24)
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Buffalo Soldier oil on canvas (12 x 9)
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Sergeant Major Bill oil on board (12 x 16)
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Aces Up bronze
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Sergeant Major Bill bronze
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Ruins of the Past oil on canvas (24 x 36)
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Serenity oil on canvas (30 x 40)
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Flint oil on canvas (35 x 23)
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Horsehair Coat oil on canvas (36 x 18)
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Early Morning Ride oil on canvas (36 x 24)
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All Cowgirls are Beautiful oil on canvas (36 x 24)
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Bronc Buster oil on canvas (30 x 24)
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Scratchin’ Time oil on board (12 x 9)
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Power of the Basket oil on canvas (24 x 30)
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Child’s Play oil on canvas (30 x 24)
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Cookie Lady oil on canvas (24 x 16)
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White Kitchen Chair oil on canvas (30 x 24)
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Un Momento Sereno bronze
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Un Momento Sereno oil on board (19 x 12)
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Mixed Breed oil on canvas (36 x 24)
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She’s Bringin’ Them In oil on canvas (24 x 30)
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French Connection oil on board (10 x 8)
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J.R. oil on canvas (12 x 16)
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End of the Trail oil on canvas (24 x 30)
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Pickin’ Up Strays oil on canvas (24 x 36)
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My Baby oil on board (12 x 9)
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El Gato oil on canvas (24 x 20)
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Shootout at Tombstone oil on canvas (32 x 30)
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Maverick oil on canvas (30 x 24)
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Hurtin’ Dirty Ride oil on canvas (36 x 24)
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After the Ride oil on canvas (24 x 20)
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I Am An American oil on canvas (20 x 16)
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Pow Wow Dancer oil on canvas (16 x 12)
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Night Raid oil on canvas (12 x 9)
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White Fox oil on canvas (14 x 11)
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Fox Tail Hairpiece oil on board (12 x 9)
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Young Pow Wow Dancer oil on canvas (12 x 9)
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Landscape #2 oil on canvas (26 x 24)
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Them Beans oil on canvas (24 x 36)
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Looking into the Past oil on canvas (16 x 20)
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Storm Warning oil on canvas (16 x 20)
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Man of Taos oil on canvas (10 x 8)
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Taos Shaman oil on canvas (16 x 12)
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Apache Warrior oil on board (16 x 12)
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Drummer of Taos bronze
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Verner Ranch oil on canvas (24 x 36)
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Everyone Needs a Little Shade oil on canvas (11 x 16)
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Winning Combination oil on canvas (24 x 30)
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The Hand-Off oil on canvas (16 x 20)
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Bead Lady oil on canvas (20 x 16)
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Shayna oil on canvas (24 x 36)
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Mountain Man in Fox Hat oil on canvas (14 x 11)
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A Waitin’ for the Fargo oil on canvas (30 x 24)
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Talking Hands oil on canvas (16 x 20)
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Impending Decision oil on canvas (16 x 20)
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Tough Draw Hard Days Night Eight Seconds to Glory Little Princess My New Blue Scarf Welcome Home Bright New Morning Looks Like a Wet One Hereford Time Buffalo Soldier Sergeant Major Bill Aces Up - Bronze Sergeant Major Bill - Bronze Ruins of the Past Serenity Flint Horsehair Coat Early Morning Ride All Cowgirls Are Beautiful Bronc Buster Scratchin’ Time Power of the Basket Child’s Play Cookie Lady White Kitchen Chair Un Momento Sereno - Bronze Un Momento Sereno Mixed Breed She’s Bringin’ Them In French Connection J.R. End of the Trail
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Pickin’ Up Strays My Baby El Gato Shootout at Tombstone Maverick Hurtin’ Dirty Ride After the Ride I Am An American Pow Wow Dancer Night Raid White Fox Fox Tail Hairpiece Young Pow Wow Dancer Landscape #2 Them Beans Looking Into the Past Storm Warning Man of Taos Taos Shaman Apache Warrior Drummer of Taos - Bronze Verner Ranch Everybody Needs a Little Shade Winning Combination The Hand-Off Bead Lady Shayna Mountain Man in Fox Hat A Waitin’ for the Fargo Talking Hands Impending Decision
Index Kenneth M. Freeman artist at work
The Kenneth M. Freeman Legacy www.KennethMFreeman.com