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George Stubbs ARA (25 August 1724 – 10 July 1806) was an English painter, best known for his paintings of horses. Self-trained, Stubbs learnt his skills independently from other great artists of the 18th century such as Reynolds and Gainsborough. Stubbs' output includes history paintings, but his greatest skill was in painting animals (such ...
The White Horse was one of Constable’s favourite paintings. He commented in a letter to Fisher in 1826: There are generally in the life of an artist perhaps one, two or three pictures, on which hang more than usual interest – this is mine. [9] In 1830, when Fisher was heavily indebted, he bought the painting back, also for 100 guineas. [10]
The white horse The oeuvre of Pieter (1623–1682) clearly manifests the influence of Philips with regard to the range of subjects, but regarding the artistic style, Pieter had quite one of his own. And Jan (1629–1666) was a rather autonomous landscape painter.
The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow". The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse. In one hand, the Headless Horseman is holding ...
John Constable RA (/ ˈ k ʌ n s t ə b əl, ˈ k ɒ n-/; [1] 11 June 1776 – 31 March 1837) was an English landscape painter in the Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting [2] with his pictures of Dedham Vale, the area surrounding his home – now known as "Constable Country" – which he invested with an intensity of ...
Battle of Orsha (painting) The Battle of San Romano; The Battle of Taillebourg, 21 July 1242; The Battle of the Amazons (Rubens) Before the Race; The Bewitched Man; Big Rocking Horse; The Black Brunswicker; Black Horses (Grandma Moses) Blackie (American horse) Blessed Be the Host of the King of Heaven; The Blind Girl; Blue Horse I; Blue Horses ...
The grey, black, and white painting, on a canvas 3.49 meters (11 ft 5 in) tall and 7.76 meters (25 ft 6 in) across, portrays the suffering wrought by violence and chaos. Prominently featured in the composition are a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames.
Rivera used tonal variations in the black and white Zapata to similar effect as he did color in the painted murals he used as its source material. In the lithograph, the lightest areas in Zapata's white clothing and the white body of the horse he leads are sharply delineated against the dark background and the mid tones of the clothing of ...