The George G. Matthews Collection of Western Art

Page 92

CHARLIE DYE 1906 - 1973 Born in Cañon City, Colorado, Charlie Dye grew up working on ranches, and by the time he was 20 he had worked on ranches in three states: Colorado, California and Oregon. Dye enjoyed being a ranch hand and drawing as a hobby, but along the way he also played semi-pro football, worked as a bodyguard, and even worked for a few years in movies riding his horse Old Navajo. While in the hospital recovering from injuries resulting from a horse falling on him, an old cowhand in the bed next to him showed him a book that featured then living artist Charles M. Russell’s drawings, which inspired Dye to seriously consider becoming an artist. From that time on Dye seemed to be on a fast track.

Western pictures and see if they would sell in the galleries. They did, and he decided to give up his career as an illustrator and move back out West to Colorado where he bought a half interest in the Colorado Institute of Art. While teaching occasionally at the Institute, Dye continued to pursue fine art in a subject area he knew very well, depicting working cowboys. Within a few years Charlie Dye was so successful as an artist that he bought a home and studio in Sedona, Arizona, where he would live and work for the rest of his life. In Arizona he met Joe Beeler, John Hampton, and George Phippen, and in 1965 the four artists co-founded the Cowboy Artists of America, something Dye was extremely proud of.

After winning a sizeable amount of money on a bet, Dye’s sister offered to match the amount if Charlie would enroll in school. Dye managed to get himself into both the Chicago Art Institute and the American Academy of Art, and within eighteen months he was working as an illustrator. By the time he was 30, he had moved to New York City and was working as an illustrator for magazines like The Saturday Evening Post, Argosy, American Weekly, and Outdoor Life.

According to James Peck, curator of collections for the Rockwell Museum of Western Art, “Dye was among the very first Western artists to combine professional art training, an illustrator’s aesthetic and Western bona fides… a model emulated many times since ….”

Twenty years later, during a trip to California to visit an ailing sister, Charlie Dye noticed Western paintings in galleries and, as he said he, “decided to paint a few

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Hubert Wackermann

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Richard D. Thomas

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John Paul Strain

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Karl Thomas

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pages 246-247

Lyle Tayson

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pages 244-245

Ron Stewart

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pages 238-241

Oleg Stavrowsky

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pages 234-237

Don Spaulding

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pages 226-227

Gene Speck

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pages 228-233

Irvin Shope

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pages 224-225

William Steve Seltzer

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pages 222-223

David Sanders

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pages 214-217

Alfredo Rodriguez

3min
pages 204-211

William Rushing

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pages 212-213

Conrad Schwiering

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pages 218-219

Gary Lynn Roberts

3min
pages 198-203

Olaf Carl Seltzer

2min
pages 220-221

Mack Ritchie

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pages 196-197

Douglas Ricks

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pages 194-195

Robert Pummill

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pages 182-187

Leonard H. Reedy

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pages 188-189

Chuck Ren

2min
pages 190-193

John Phelps

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pages 178-179

Tom Phillips

2min
pages 180-181

Don Oelze

3min
pages 176-177

Jim C. Norton

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pages 168-175

John Moyers

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pages 166-167

Gerald McCann

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pages 142-143

Mitchell Mansanarez

1min
pages 138-141

David Mann

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pages 134-137

Frank McCarthy

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pages 144-147

Wendell Macy

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pages 132-133

Gerry Metz

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pages 148-153

Lanford Monroe

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pages 164-165

Kim Mackey

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pages 130-131

Dustin Lyon

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pages 128-129

Ted Long

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pages 124-127

Hayden Lambson

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pages 122-123

Morton Künstler

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pages 120-121

Harvey Johnson

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pages 116-117

Thomas Kinkade

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pages 118-119

John Jarvis

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pages 114-115

Heinie Hartwig

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pages 112-113

Robert Farrington Elwell

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pages 94-95

Raul Gutierrez

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pages 102-103

Carl Hantman

2min
pages 108-111

David Halbach

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pages 104-107

Martin Grelle

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pages 100-101

Joe Ferrara

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pages 98-99

John Fawcett

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pages 96-97

Charlie Dye

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pages 92-93

Robert Duncan

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pages 84-91

Austin Deuel

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pages 78-81

Gene Dodge

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pages 82-83

John DeMott

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pages 74-77

Stan Davis

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pages 70-73

Don Crowley

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pages 68-69

Sheila Cottrell

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pages 66-67

Jim Carson

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pages 44-55

Michael Coleman

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pages 56-61

Guy Corriero

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pages 64-65

Nicholas Coleman

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pages 62-63

Paul Calle

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pages 40-43

Don Brackett

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pages 34-35

Dan Bodelson

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pages 30-33

Reynold Brown

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pages 36-39

Paul Abram, Jr

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pages 16-19

Roy Andersen

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pages 26-29

William Ahrendt

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pages 22-25

INTRODUCTION

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page 15

Cassilly Adams

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pages 20-21
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