The R. W. Norton Art Gallery is pleased to announce Phase 3 of our general public re-opening.
Beginning Friday, 2 July, the museum will be open as follow:
Friday • 1:00 - 7:00 PM
Saturday • 1:00 - 7:00 PM
Sunday • 1:00 - 5:00 PM
No reservations or tickets are required and admission is free.
If you have any questions, please contact firstname.lastname@example.org or call (318) 865-4201.
Monday - Wednesday: 4:00pm - Sunset
Thursday - Sunday: Sunrise - Sunset
We must emphasize that Monday - Wednesday, unlike our old operating hours, the gardens are closed to the public during the day until 4:00pm.
None of the above restrictions apply to the garden area west of Creswell Ave. or the “island” in front of the museum’s main entrance, both of which will be open dawn until dusk, year round.
Please be respectful of your fellow visitor by maintaining the approved social distance.
The R.W. Norton Art Gallery houses an exceptional collection of art spanning more than four millennia. Since its opening in 1966, the museum has become particularly well-known around the country for its impressive collections of works by those titans of western art, Frederic Remington and Charles M. Russell. The R.W. Norton Art Gallery is a teaching museum that uses the art to encourage community participation in thoughtful interpretations and discussions.
In the early 1920's, Richard W. Norton (1886-1940) became one of the discoverers of the Rodessa Oil Field in north Louisiana. Over time, Mr. Norton's wife and son began to amass a significant collection of fine art. In 1946, to honor Mr. Norton and for the benefit of the community, Richard W. Norton, Jr. (1919-1974) and his mother, Mrs. Richard W. Norton (1886-1975) created the R.W. Norton Art Foundation. In turn, the Foundation eventually established the R.W. Norton Art Gallery, basing its initial collection upon donations from the acquisitions of the Nortons. Today, due to the on-going efforts of the Board of Control and the Foundation's work, the R.W. Norton Art Gallery's offerings continue to expand, grow, and contribute to their community.
In most of Russell’s paintings involving Native Americans, his sympathies are clearly with the Indians rather than the white men. He once wrote to a friend:
I remember one day we were looking at a buffalo carcus and yousaid Russ I wish I was a Sioux Indian a hundred years ago and Isaid me to Ted thairs a pair of us [.] I have often made that wish since and if the buffalo would come back tomorrow I wouldent be slow shedding a brich clout [breechcloth]. . .
This included sharing much of their sense of humor regarding the foolish ways and absurd arrogance of the settlers. That’s exactly what’s on view here as the whites making their camp on the riverbank clearly fail to realize how visible they are to the highly amusedscouting party on the bluff.