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Horse racing became a popular pastime in 19th century France under Louis-Philippe and Napoleon III. Degas began admiring horses while visiting friends in Normandy. Over the course of his career it is reported that he created 45 oils, 20 pastels, 250 drawings, and 17 sculptures related to horses. Degas was eager to know horses in anatomical ...
The green coloring of the painting is suggestive of an influence from English horse racing scenes. [9] The driver's top hat and the presence of the bulldog also contribute to the "English character" of the painting. English styles were fashionable among the French upper classes at the time of the painting's creation. [10]
Lionel Edwards (9 November 1878 – 13 April 1966) was a British artist who specialised in painting horses and other aspects of British country life. He is best known for his hunting scenes but also painted pictures of horse racing, shooting and fishing.
The horse appears less frequently in modern art, partly because the horse is no longer significant either as a mode of transportation or as an implement of war. Most modern representations are of famous contemporary horses, artwork associated with horse racing, or artwork associated with the historic cowboy or Native American tradition of the ...
The Havre de Grace Racetrack was an American horse racing track on Post Road in Havre de Grace, Harford County, Maryland. Nicknamed "The Graw," it operated from August 24, 1912, to 1950. For a time, it was owned by the Harford Agricultural and Breeders Association and also by the notorious gambler Arnold Rothstein.
The Longchamp Racecourse (French: Hippodrome de Longchamp, pronounced [ipɔdʁom də lɔ̃ʃɑ̃]) is a 57 hectare horse-racing facility located on the Route des Tribunes at the Bois de Boulogne in the 16th arrondissement of Paris, France.
The Jockey of Artemision is a large Hellenistic bronze statue of a young boy riding a horse, dated to around 150–140 BC. [1] [2] It is a rare surviving original bronze statue from Ancient Greece and a rare example in Greek sculpture of a racehorse. Most ancient bronzes were melted down for their raw materials some time after creation, but ...
Stubbs's Molly Long-legs with her Jockey (1761–62), a more typical racehorse portrait (101 × 127 cm). Stubbs's knowledge of equine physiology was unsurpassed by any painter; he had studied anatomy at York and, from 1756, he spent 18 months in Lincolnshire where he carried out dissections and experiments on dead horses to better understand the animal's physiology.