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=== After 1900 ===
In 1898, he achieved the public honor of having two paintings used for reproduction on US Postal stamps.<ref name="Peggy 1990, p. 33" />
:“It is given to few men to live Crusoe-like on an island all their own; but Remington besides possessing his own island has augmented the boon with a substantial cottage, studio and outbuildings and lives part from the herding crowd like a feudal lord of old. You cannot possibly disturb him at his work; you could not even located this ‘Ingleneuk’ unless piloted to it. There are only five acres of it, but it is an impregnable stronghold and is, as the artist himself describes it, ‘the finest place on earth…’ Here Remington works all summer… I asked him for a photograph of the house at ‘Ingleneuk.’ ‘Bless your soul,’ he replied, ‘it couldn’t be photographed at any angle; it is solidly screen from view on all sides by the densest growth of trees along the St. Lawrence.’” (reporter Perriton Maxwell in the October 1907 issue of ''Pearson’s Magazine''<ref>https://sidrichardsonmuseum.org/remingtons-fortress-of-rest/</ref>)
In 1900, as an economy move, Harper's dropped Remington as their star artist. To compensate for the loss of work, Remington wrote and illustrated a full-length novel, ''The Way of an Indian'', which was intended for serialization by a Hearst publication but was not published until five years later in ''[[Cosmopolitan (magazine)|Cosmopolitan]]''. Remington's protagonist, a Cheyenne named Fire Eater, is a prototype Native American as viewed by Remington and many of his time.<ref>Brian W. Dippie, ''Remington & Russell'', University of Texas, Austin, 1994, {{ISBN|0292715692}}, p. 38.</ref>
[[File:A Taint on the Wind.jpg|thumb|''A Taint on the Wind'', 1906, Oil on canvas, [[Sid Richardson Museum]], Fort Worth, Texas]]
Remington then returned to sculpture and produced his first works produced by the [[lost wax]] method, a higher-quality process than the earlier sand casting method, which he had employed.<ref>Peggy & Harold Samuels, 1982, p. 298.</ref> By 1901, ''Collier's'' was buying Remington's illustrations on a steady basis. As his style matured, Remington portrayed his subjects in every light of day. His nocturnal paintings, very popular in his late life, such as ''A Taint on the Wind'', ''Scare in the Pack Train'' and ''[[Fired On]]'', are more impressionistic and loosely painted and focus on an unseen threat.
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