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Marc used blue throughout his career to represent spirituality; his use of vivid color is thought to have been an attempt to eschew the material world to evoke a spiritual or transcendental essence. [3] [4] [5] This oil painting on canvas measures 41.625 inches by 71.3125 inches (unframed) and is unsigned.
[1] [2] It hangs in the National Gallery in London and is regarded as "Constable's most famous image" [3] and one of the greatest and most popular English paintings. [4] Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm waggon across the river.
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.
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 paintings Blue Horse I and Blue Horse II were also created in 1911. In all of the horse pictures of this time, Marc turns blue from an “appearance colour” to an “essential colour”. The colour blue stood for the male principle in his own colour theory. With the animal image he found a symbol for a “spiritualization of the world”.
The painting shows a panorama of an army of skeletons wreaking havoc across a blackened, desolate landscape. Fires burn in the distance, and the sea is littered with shipwrecks. [3] A few leafless trees stud hills otherwise bare of vegetation. Fish lie rotting on the shores of a corpse-choked pond.
The Tower of Blue Horses was a large work, 200 by 130 centimetres (6 ft 7 in × 4 ft 3 in). [1] Most of the picture is occupied by a frontal view of four primarily blue horses, arranged in a tier to the right of centre, facing the viewer but with their heads turned to the left; the foremost horse seemed "only a little less than life size" to at least one writer. [2]
The paintings of Giuseppe Castiglione show the bodies of horses in full, their manes being of a different color from the body. [4] He represented them from different angles, [4] suggesting movement through the lifting of the limbs. [7] He also indicated a light source to attenuate the tints, and thus give the horses a volumetric effect. [4]
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