World Premiere: Artist at Work - The Kenneth M. Freeman Legacy Exhibition at the Booth Museum

artist at work

Design by DM Productions LLC - Mike Vialpando - Douglas Collins - Bonnie Adams

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Published by: Kenneth M. Freeman Legacy LLC10755 East Cactus RoadScottsdale, AZ 85259602.793.7990www.KennethMFreeman.com

Copyright © 2009Kenneth M. Freeman Legacy LLC

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ISBN978-0-9843928-0-3

First Edition (Limited to 1000 copies)

Kenneth M. Freeman(1935 - 2008)

artist at work

4 The Kenneth M. Freeman Legacy Exhibition

Ken was a cowboyfor artist Kenneth M. Freeman,

the cowboy hat and boots were not a gimmick.

Neither was his Arizona attitude.

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 Academyinterpreted 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.” 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

American Bornoil on canvas

Someone’s Comingoil on canvas

Codyoil on canvas

The Kenneth M. Freeman Legacy Exhibition 5

John Wayneoil on canvas(18 x 16)


( clockwise from left)

Rabbi Doing Tfl im

Oil on Canvas

Tracy

Oil on Canvas

Dori

Oil on Canvas

Alice

Oil on Canvas

Soldier

Oil on Canvas

Bonnie

Burnt Umber Underpainting

Kenneth M. Freemana portrait artist


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 fi gure 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 fi rst 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.”

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 won-derful light and transfer it to a canvas. No easy task for any artist.

But there was only one Kenneth Freeman.

Aron GagliardoAmerican Academy of ArtChicago 2009

Kenneth M. FreemanNude (Untitled)

Oil on Canvas - 1955

american academy of artpermanent collection


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.

Each year Stanford University granted one full scholarship to the art school of choice for the winner in each of fi ve 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 intensifi ed. 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 ofhumanity. Freeman won fi rst 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 fi ve 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 Offi ces.

Senator Jon Kyl of Arizona chose two of these posters for display in the Library of Congress and are included in theAmerican Legacy Project.

Kenneth M. Freemana jewish artist from chicago,

born with a cowboy spirit.


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 suffi ciently 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 offi cial 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 benefi t 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.

During the late 1800s and early 1900s, the Buffalo Soldiers were assigned to the harshest and most desolate posts.

Specifi c 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”

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.

Kenneth M. Freemanthe buffalo soldiers


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 fi nally 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, specifi cally, 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 Offi cers must be white. The all-white offi cers were just as much Buffalo Soldiers as the troops they commanded.

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 magnifi cent. 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” McCurtisRegimental Sergeant Major9th Memorial United States Cavalry

Sergeant Major Bill McCurtis

My Friend... Kenneth Freeman



Kenneth M. Freemanillustrator: poster designs


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 womenwho 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. Freemanillustrator: book cover designsLouis L’Amour’s Fallon

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.

When this was dry,

he laid down the color.

burnt umber underpainting

pencil sketch on canvas


Kenneth M. Freeman’stechnique


Impending Decision IVunfi nishedoil on canvas(20 x 16)

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.


Prominent Collections Kenneth M. Freeman

- The Library of Congress

- The Smithsonian Museum

- The Booth Western Art Museum

- The American Art Academy

Noteworthy Art ShowsKenneth 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

Kenneth M. Freemancollections

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 AmericaMembership is open to

both men and women

and is based solely on

artistic ability and talent.

Membership is

limited to 24 members.


Tough Drawoil on canvas(24 x 30)

Hard Days Nightoil on canvas

(16 x 20)


Eight Seconds to Gloryoil on canvas(24 x 30)


Little Princessoil on canvas

(9 x 12)


My New Blue Scarfoil on canvas(8 x 10)


Welcome Homeoil on canvas

(24 x 30)


Bright New Morningoil on canvas(24 x 30)


Looks Like a Wet Oneoil on canvas

(20 x 24)


Hereford Timeoil on canvas(20 x 24)


Buff alo Soldieroil on canvas

(12 x 9)


Sergeant Major Billoil on board(12 x 16)


Aces Upbronze


Sergeant Major Billbronze


Ruins of the Pastoil on canvas

(24 x 36)


Serenityoil on canvas(30 x 40)


Flintoil on canvas

(35 x 23)


Horsehair Coatoil on canvas(36 x 18)


Early Morning Rideoil on canvas

(36 x 24)


All Cowgirls are Beautifuloil on canvas(36 x 24)


Bronc Busteroil on canvas

(30 x 24)


Scratchin’ Timeoil on board(12 x 9)


Power of the Basketoil on canvas

(24 x 30)


Child’s Playoil on canvas(30 x 24)


Cookie Ladyoil on canvas

(24 x 16)


White Kitchen Chairoil on canvas(30 x 24)


Un Momento Serenobronze


Un Momento Serenooil on board(19 x 12)


Mixed Breedoil on canvas

(36 x 24)


She’s Bringin’ Them Inoil on canvas(24 x 30)


French Connectionoil on board

(10 x 8)


J.R.oil on canvas(12 x 16)


End of the Trailoil on canvas

(24 x 30)


Pickin’ Up Straysoil on canvas(24 x 36)


My Babyoil on board

(12 x 9)


El Gatooil on canvas(24 x 20)


Shootout at Tombstoneoil on canvas

(32 x 30)


Maverickoil on canvas(30 x 24)


Hurtin’ Dirty Rideoil on canvas

(36 x 24)


After the Rideoil on canvas(24 x 20)


I Am An Americanoil on canvas

(20 x 16)


Pow Wow Danceroil on canvas(16 x 12)


Night Raidoil on canvas

(12 x 9)


White Foxoil on canvas(14 x 11)


Fox Tail Hairpieceoil on board

(12 x 9)


Young Pow Wow Danceroil on canvas(12 x 9)


Landscape #2oil on canvas

(26 x 24)


Them Beansoil on canvas(24 x 36)


Looking into the Pastoil on canvas

(16 x 20)


Storm Warningoil on canvas(16 x 20)


Man of Taosoil on canvas

(10 x 8)


Taos Shamanoil on canvas(16 x 12)


Apache Warrioroil on board

(16 x 12)


Drummer of Taosbronze


Verner Ranchoil on canvas

(24 x 36)


Everyone Needs a Little Shadeoil on canvas(11 x 16)


Winning Combinationoil on canvas

(24 x 30)


The Hand-Off oil on canvas(16 x 20)


Bead Ladyoil on canvas

(20 x 16)


Shaynaoil on canvas(24 x 36)


Mountain Man in Fox Hatoil on canvas

(14 x 11)


A Waitin’ for the Fargooil on canvas(30 x 24)


Talking Handsoil on canvas

(16 x 20)


Impending Decisionoil on canvas(16 x 20)


IndexKenneth M. Freemanartist at work

17 Tough Draw18 Hard Days Night19 Eight Seconds to Glory20 Little Princess21 My New Blue Scarf22 Welcome Home23 Bright New Morning24 Looks Like a Wet One25 Hereford Time26 Buffalo Soldier27 Sergeant Major Bill28 Aces Up - Bronze29 Sergeant Major Bill - Bronze30 Ruins of the Past31 Serenity32 Flint33 Horsehair Coat34 Early Morning Ride35 All Cowgirls Are Beautiful36 Bronc Buster37 Scratchin’ Time38 Power of the Basket39 Child’s Play40 Cookie Lady41 White Kitchen Chair42 Un Momento Sereno - Bronze43 Un Momento Sereno44 Mixed Breed45 She’s Bringin’ Them In46 French Connection47 J.R.48 End of the Trail

49 Pickin’ Up Strays50 My Baby51 El Gato52 Shootout at Tombstone53 Maverick54 Hurtin’ Dirty Ride55 After the Ride56 I Am An American57 Pow Wow Dancer58 Night Raid59 White Fox60 Fox Tail Hairpiece61 Young Pow Wow Dancer62 Landscape #263 Them Beans64 Looking Into the Past65 Storm Warning66 Man of Taos67 Taos Shaman68 Apache Warrior70 Drummer of Taos - Bronze71 Verner Ranch72 Everybody Needs a Little Shade73 Winning Combination74 The Hand-Off75 Bead Lady76 Shayna77 Mountain Man in Fox Hat78 A Waitin’ for the Fargo79 Talking Hands80 Impending Decision

The Kenneth M. Freeman Legacywww.KennethMFreeman.com

World Premiere: Artist at Work - The Kenneth M. Freeman Legacy Exhibition at the Booth Museum

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