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The horse survived World War I and was retired to a stable in France. The idea that the horse in the image was Old Steamboat (1894–1914), the famous bucking horse near Cheyenne, was developed much later, as few civilians saw the event depicted by Ostrum. The incident was documented with citations in the book Where Rivers Run North by Sam ...
Orans, a loanword from Medieval Latin orans (Latin: [ˈoː.raːns]) translated as "one who is praying or pleading", also orant or orante, as well as lifting up holy hands, is a posture or bodily attitude of prayer, usually standing, with the elbows close to the sides of the body and with the hands outstretched sideways, palms up.
General Ulysses S. Grant, by Daniel Chester French (Grant) and Edward Clark Potter (horse), Fairmount Park, 1897. The Medicine Man, by Cyrus Dallin, Fairmount Park, 1899. Cowboy, by Frederic Remington, Fairmount Park, 1908. General Winfield Scott Hancock, by John Quincy Adams Ward, Smith Memorial Arch, 1910.
The rider, with moustache and woolly chaps, leans forward, gripping the horse's mane with one hand and holding on to his hat with the other. Remington completed a plaster model in January 1905, which was cast in bronze by the Roman Bronze Works using the lost wax process .
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 ...
It portrays a rugged cowboy character fighting to stay aboard a rearing, plunging bucking horse, with a stirrup swinging free, a quirt in one hand and a fistful of mane and reins in the other. It was the first and remains the most popular of all of Remington's sculptures.
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The Horses of Neptune, illustration by Walter Crane, 1893.. Horse symbolism is the study of the representation of the horse in mythology, religion, folklore, art, literature and psychoanalysis as a symbol, in its capacity to designate, to signify an abstract concept, beyond the physical reality of the quadruped animal.
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