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A palomino mare with a chestnut foal. This golden shade is widely recognized as palomino. Palomino is a genetic color in horses, consisting of a gold coat and white mane and tail; the degree of whiteness can vary from bright white to yellow. The palomino color derived from the inter-breeding of Spanish horses with those from the United States. [1]
Palomino Fino is a white grape widely grown in Spain and South Africa, and best known for its use in the manufacture of sherry. It is also grown in the Douro region of Portugal where it is used for table and fortified wines .
Rosy pink skin and pale blue eyes are characteristics of cremellos, or "double-dilute" chestnuts. The cream gene is responsible for a number of horse coat colors . Horses that have the cream gene in addition to a base coat color that is chestnut will become palomino if they are heterozygous , having one copy of the cream gene, or cremello, if ...
Palomino. Buckskin: A bay horse with one copy of the cream gene, a dilution gene that "dilutes" or fades the coat color to a yellow, cream, or gold while keeping the black points (mane, tail, legs). Palomino: chestnut horse that has one cream dilution gene that turns the horse to a golden, yellow, or tan shade with a flaxen or white mane and tail.
Some characteristics of a Tovero colored horse include: Dark pigmentation around the ears, sometimes called a "Medicine Hat" or a "War bonnet" Dark pigmentation around the ears, expanding to cover the forehead and/or eyes. Isolated "shield" dark markings completely surrounded by white, particularly on the face or chest. One or both eyes blue.
Pinto colors can come in a number of genetically distinct patterns, which have different visual characteristics and tend to make white or leave colored different areas of the horse. These include tobiano, sabino, splashed white, frame, and manchado. A pinto horse may also have a combination of these patterns, such as tovero. [2]
A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. [3] [14] Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered ...
Davies believes that the religious climate of the Counter-Reformation and the aesthetics of mannerism acted as catalysts to activate his individual technique. According to Davies, "El Greco sought to convey the essential or universal meaning of the subject through a process of redefinition and reduction.