Search results
Results from the WOW.Com Content Network
In May of that year the work was sold to the art dealership Tooth and Sons and renamed Première rêverie. That August the dealership sold the painting to a person named Groves. [4] The painting was later gifted to the New Orleans Museum of Art by Mr. and Mrs. Chapman H. Hyams; the museum's catalogue lists it as Whisperings of Love. [5]
[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. When I found out that ...
Xu Beihong (Chinese: 徐悲鴻; Wade–Giles: Hsü Pei-hung; 19 July 1895 – 26 September 1953), also known as Ju Péon, was a Chinese painter. [1]He was primarily known for his Chinese ink paintings of horses and birds and was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century.
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.
[7] [8] This style of cropping was uncommon in painting in general before the invention of photography. Degas has also been suggested to have taken influences from English paintings when painting At the Races in the Countryside. The green coloring of the painting is suggestive of an influence from English horse racing scenes. [9]
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 painter wished to represent with various symbols the war and peace between heavenly and common love formulated by Plato. On one side he painted Heavenly Love wrestling with Common Love and pulling him by the hair: this is the philosophy and most sacred law that removes the soul from vice, raising it on high.
The painting shows a nude, redheaded woman riding a black, frenetic horse. The horse bares its teeth, its tongue hanging out. Its nostrils are dilated and foam runs from its mouth. The woman riding the horse tightly clasps its neck with her eyes closed, her loose hair fanning out and flowing upwards to mingle with the horse's mane.