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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.
Black Gold (1957) – about the horse Black Gold; Muley-Ears, Nobody's Dog (1959) All About Horses, with drawings by Wesley Dennis and photos (1962) Five O'Clock Charlie (1962) Stormy, Misty's Foal (1963) Portfolio of Horse Paintings, with commentary by Henry (1964) – "Published in 1952 under title: Portfolio of horses." LCCN 64-22279
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 ...
On White II: Musée National d'Art Moderne, Paris 105 x 98 1923 Composition VIII: Solomon R. Guggenheim Museum, New York 140 x 201 Oil on Canvas 1923 Circles in a Circle: Philadelphia Museum of Art 98.7 x 95.6 1923 Black and Violet: Private collection 77.8 x 100.4 1923 In the Black Square: Solomon R. Guggenheim Museum, New York 97.5 x 93.3 1924
Pegasus is a constellation in the northern sky, named after the winged horse Pegasus in Greek mythology.It was one of the 48 constellations listed by the 2nd-century astronomer Ptolemy, and is one of the 88 constellations recognised today.
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.
Horse and Train was described by Ray Cronin as being "among the most recognizable images in Canadian art", [2] and is further described by Encyclopædia Britannica as a notable example of the "meticulous and time-consuming methods" Colville was known for. [5]
Pen and brown ink with brush and brown wash, with touches of opaque white watercolor, on cream laid paper: 14.3 x 16.8 cm: Museum of Fine Arts, Boston: The drawing is related to the etching B158 : Three Men Being Beheaded: c. 1640: Pen and brown ink, corrected with white; framing lines in pen and brown ink: 15.3 x 22.6 cm: British Museum, London