"Portrait of Frederic Remington" by Louis “Lew” Glanzman (VA/NY, 1922-2013), unvarnished oil on board, artist’s name inscribed on back with possible date of 1987, work purportedly was passed through his family, framed - 26 1/4” x 32 1/2”
 
This painting notably appears to be unfinished, specifically the subject’s body and hands and some of the art pieces behind him. Perhaps this was a work in progress that the artist never completed, or, perhaps he intended the work to be finished this way, leaving the viewer to wonder? After all, Glanzman’s credence was, “At the heart of every painting is a story.” The subject, Frederic Remington, was himself a painter and illustrator of Western American Art
 
Louis “Lew” Glanzman was an artist, illustrator and a Golden Age comicbook artist, his most memorable work in comics being a series of stories and covers for Amazing Man Comics at Centaur. Having begun work in comics at the age of 16, he credited this career as his art training, along with his studies at the School of Industrial Arts in New York (though he played a lot of hooky to attend burlesque shows on 42nd Street). During WW2, Glanzman was an Army Air Corps mechanic as well as an illustrator of the military’s Aero Time magazine. After the war he found employment as an illustrator of children’s books, most notably of Pippi Longstockings, and painting covers for books, such as Louis L’Amour novels, and periodicals. Throughout his career Glanzman created art for Saturday Evening Post, Boy’s Life, Reader’s Digest, Colliers, The New Yorker, National Geographic, Time, and even National Lampoon. He spent a large part of his latter years creating historical, religious and fantasy art. Glanzman received awards and accolades from the Society of Illustrators, Art Directors Club, Salmagundi Club, Wall Street Journal, New York Times, and the National Geographic Society. His work can also be found in the collections of the Smithsonian National Portrait Gallery.