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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]
The painting was made by van Gogh during his stay in Auvers-sur-Oise, with Doctor Gachet. It is a copy, like van Gogh made many, of a study by Jacob Jordaens exhibited at the Palais des Beaux-Arts in Lille. The painting was not copied directly, but from an etching by Doctor Gachet from 1873, signed with his artist name, Paul van Ryssel.
California Spring (painting) Cart with Black Ox; Cart with Red and White Ox; Cattle of Helios; The Colossus (painting) The Cornell Farm; Cow tools; Cow Wallpaper; The Cow with the Subtile Nose; Cow's Skull: Red, White, and Blue; Cowboys and Herds in the Maremma; A Cowherd at Valhermeil, Auvers-sur-Oise; The Cows (painting) Cows and Groomers ...
The painting measures 95.5 by 68.8 centimetres (37.6 in × 27.1 in), and is signed and dated "Rembrandt f. 1655". It shows the butchered carcass of a bull or an ox, hanging in a wooden building, possibly a stable or lean-to shed. The carcass is suspended by its two rear legs, which are tied by ropes to a wooden crossbeam.
Plains hide painting is a traditional North American Plains Indian artistic practice of painting on either tanned or raw animal hides. Tipis , tipi liners, shields, parfleches , robes, clothing, drums, and winter counts could all be painted.
Thomas Sidney Cooper was born in St Peter's Street in Canterbury, Kent, [2] and baptised at St Peter's Church. [3] As a small child he began to show strong artistic talent, but his family had little money (his father had deserted the family when the boy was five) and could not pay for any tuition, or even for paper and pencils.
Modern Rome – Campo Vaccino is a landscape vision of the unexcavated Roman Forum, still called the Campo Vaccino, the "Cow Pasture", shimmering in hazy light and is the last of Turner's twenty-year series of views of the city. [2] It was painted at the peak of Turner's career from studies and sketches made on two visits to the city. [3]
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 ...