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Charles Vess's illustration for "The Duke of Wellington Misplaces his Horse". Vess's black-and-white line drawings are "reminiscent of the great Arthur Rackham, harking back to the early 20th-century golden age of children's book illustrations". [1]
[6] His illustrations attracted author Marguerite Henry, who later wrote, "I had just finished writing Justin Morgan Had a Horse, and wanted the best horse artist in the world to illustrate it. So I went to the library, studied the horse books, and immediately fell in love with the work of Will James and Wesley Dennis.
The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse. In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane. Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.
In modern usage in British English, skewbald and piebald (black and white) horses are collectively referred to as coloured, while in North American English, the term pinto is used to describe the colour pattern. The colour of the horse's skin underneath its coat alternates between dark or pink, depending on the dark or white overlying hair colour.
Phantom, Zorro's white horse in the Disney series Zorro; Pokey, the pony from The Gumby Show; Polka-Dotted Horse, Ludicrous Lion's horse from H.R. Pufnstuf; Ringo, the black horse with the white star ridden by Josh Randall in all but the first few episodes of the TV series Wanted Dead or Alive; Saddle Club horses from The Saddle Club; Scout ...
Illustrations were used as advertisement's in booksellers windows. [2] During the 19th century, the use of photomechanical techniques decreased the cost of reproducing illustrations. Both colour and black and white illustrations were increasingly used in daily, weekly, and monthly publications.
The equine image was common in ancient Egyptian and Grecian art, more refined images displaying greater knowledge of equine anatomy appeared in Classical Greece and later Roman work. [3] Horse-drawn chariots were commonly depicted in ancient works, for example on the Standard of Ur circa 2500BC.
The white on a pinto horse is generally asymmetric, unlike for example white added by the leopard complex. [2] The non-white area has the same colors in the same arrangements as one would see on a solid horse. Overall, the effect is as if a horse with a solid coat had white painted in patches over top.