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File: Jean Metzinger, 1911-12, La Femme au Cheval, Woman on a Horse (black and white).jpg
Once climbing the woman, after a while of riding, she transforms into a monster with a head similar to that of a horse. La Cegua also appears to those womanizing men who walk late at night on the street, she appears to them and with her sweetness makes them believe that she is a new conquest, but later shows them her horse face.
La Femme au Cheval is an oil painting on canvas with dimensions 162 × 130.5 cm (63.8 × 51.4 in). As the title indicates the painting represents a woman and a horse. The rather elegant woman wearing only a pearl necklace and the horse are immersed in a landscape with trees and a window (in the 'background'), a vase, with fruits and vegetation (in the 'foreground') clearly taken from the ...
Ox-Head and Horse-Face in the Hell Scroll at Seattle Asian Art Museum. Ox-Head (simplified Chinese: 牛头; traditional Chinese: 牛頭; pinyin: Niútóu; Wade–Giles: niu 2-t'ou 2) and Horse-Face (simplified Chinese: 马面; traditional Chinese: 馬面; pinyin: Mǎmiàn; Wade–Giles: ma 3-mien 4) are two guardians or types of guardians of the underworld in Chinese mythology.
The painting shows a nude, redheaded woman riding a black, frenetic horse. The horse bares its teeth, its tongue hanging out. Its nostrils are dilated and foam runs from its mouth. The woman riding the horse tightly clasps its neck with her eyes closed, her loose hair fanning out and flowing upwards to mingle with the horse's mane.
Scientists build a 3D model of one of our evolutionary cousins from the pieces of a shattered skull.
Lying Naked Woman: c. 1632: Black and white chalk on paper: 19.5 x 23.4 cm: Nationalmuseum, Stockholm: The drawing is related to the painting W130 : Old Man Leaning on a Stick: 1632–1635: Pen and brown ink: 13.5 x 7.8 cm: Metropolitan Museum of Art, New York: The drawing is related to the etching B133 : Study for Drunk Lot: 1633: Black chalk ...
The painting depicts two women, one black and one white, sitting next to each other covered in beauty patches. The painting is unusual for the time in its depiction of the sitters as equals. [2] [3] The women are presented as companions with similar dress, makeup, hair, and jewelry. The work was created circa 1650 and subverts traditional ...