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    Open a larger version of the following image in a popup: David Yarrow, The Texas Rangers

    David Yarrow

    The Texas Rangers
    Archival Pigment Print
    Large (framed): 71x96
    Standard (framed): 52x71
    Ed of 12
    Inquire
    %3Cdiv%20class%3D%22artist%22%3EDavid%20Yarrow%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EThe%20Texas%20Rangers%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3EArchival%20Pigment%20Print%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3ELarge%20%28framed%29%3A%2071x96%3Cbr/%3E%0AStandard%20%28framed%29%3A%2052x71%3Cbr/%3E%0AEd%20of%2012%3C/div%3E
    This photograph, taken near the Blanco in Texas, is a revisionist take on the fabled Texas Rangers. The rangers were founded in 1823 when Stephen F. Austin, known as the...
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    This photograph, taken
    near the Blanco in Texas, is a revisionist take on the fabled Texas
    Rangers. The rangers were founded in 1823 when Stephen F. Austin, known
    as the Father of Texas, employed ten men to act as rangers to protect
    600 to 700 newly settled families who arrived in Mexican Texas following
    the Mexican War of Independence. While there is some discussion as to
    when Austin actually employed men as "rangers", Texas Ranger lore dates
    the year of their organisation to this event. It is appropriate, therefore, that we shot this series just 50 miles
    west of Austin in the cowboy town of Blanco. I needed to have references
    to the Rangers on the set; like the office and the badges on the
    rangers, but I wanted more than that. My instincts were that they had to
    look as tough as possible. The Rangers may have done some less than
    ethical things, but they are admired now for their sense of duty in
    chaotic times. I led with a cowboy called Cody - he had a very real presence about
    him - not dissimilar to the bad ass character “Rip Wheeler” in Taylor
    Sheridan’s excellent melodrama Yellowstone. Cody cuts the uncompromising
    and authoritative figure that the subject matter required. This was a
    time when few gentle folk prevailed. But I sensed from the first creative processing of the idea that I
    needed more and that is why I decided to shoot in a rainstorm. Rain
    simply adds another layer to the story and in this case, it is exactly
    what was needed to add not just more texture, but an enhanced suggestion
    of grit and sense of purpose. It serves as a metaphor for the dark days
    of Texas history when there were always clouds in the sky and some bad
    local storms.

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