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Anderson had an interest in horses and drawing. When he wasn't out riding horses, he was drawing them, taking great interest in their bone structure and conformation. Anderson started his career by illustrating for other authors, but eventually began developing texts to accompany his realistic and lively black and white drawings.
Silhouette pictures could easily be printed by blocks that were cheaper to produce and longer lasting than detailed black and white illustrations. Silhouette pictures sometimes appear in books of the early 20th century in conjunction with colour plates. (The colour plates were expensive to produce and each one was glued into the book by hand.)
Butterfield has said, "I first used the horse images as a metaphorical substitute for myself – it was a way of doing a self-portrait one step removed from the specificity of Deborah Butterfield." [7] She also said, "These first horses were huge plaster mares whose presence was extremely gentle calm. They were at rest, and in complete ...
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 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 ...
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To disseminate the mural images more widely, Rivera and Zigrosser elected to reproduce them as lithographs, which were affordable and accessible. This lithograph, along with four others, was created at the George C. Miller Print Shop in New York and published in 1932 by the Weyhe Gallery in New York. [ 5 ]