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After staying in Old Lyme, Connecticut, as a guest of Florence Griswold, he eventually moved near Old Lyme in part because of his interest in painting their ever-present oxen, which Volkert described as "twice as good as cows at posing . . . oxen are always ready to stand still, but cows are more inquisitive and when a newcomer appears they ...
The style of the painting is deliberately primitive; the large cow occupies most of the canvas, in a greenish background, which seems to represent her pasture. The cow appears unusually large, in a brownish-yellow colour. Her eyes and nose seems also very big. The title of the painting is an ironic reference to that particular feature. [4]
Ross Butler (1907–1997), born into a farming family in Norwich, Ontario, would begin to brand his legacy not in the art historical context but instead in the agricultural community of Oxford County. While he painted an impressive variety of livestock portraits and landscapes, his true inspiration was the Jersey cow.
It turns out the woman's grandmother bought the painting in San Antonio in 1935 from Porfirio Salinas, a painter recognized for his depictions of the Texas hill country in the springtime --and one ...
Edward Mason Eggleston (22 November 1882 – 14 January 1941) was an American painter who specialized in calendar portraits of women, fashionable and fantastic. He was also a well known commercial illustrator doing work for companies such as the Fisk Tire Company, the Pennsylvania Railroad, and the Great Lakes Exposition.
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One of the finest landscape painters of his day, he is mainly associated with pictures of cattle or sheep, [5] a fact that earned him the epithet "Cow Cooper". [8] Cooper collaborated between 1847 and 1870 with Frederick Richard Lee R.A. on several paintings, Lee undertaking the landscapes, and Cooper adding animals to complete the scene. [9]
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