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Throughout the ages, animals have been a source of fascination to humans. Whether loyal
companions, enemies, or a means of sustenance, animals with their kindness, strength,
beauty, and mystery have inspired people to create works of art
(http://www.artsmia.org/animals/). "Throughout history there have been representations
ranging from the realistic, to myth[ical], legend[ary], symbol[ic], and even murderous
beasts; at the same time providing fascinating perspectives of our own humanity"
(http://www.collegepapers.com/TermPapers/Art/Animal_Influences_in_Paleolithic_Egyp
tian_and_Greek.shtml). Animal art has also been seen as a tool connecting different
cultures and time periods.
The horse has been a favorite subject of artists for centuries. Mans first attempt to
portray the horse in art was in prehistoric times when they were drawn on cave walls. As
world cultures developed, horses were depicted in pottery, sculpture, painting, mosaics
and other art forms. "An inspiring symbol of strength, freedom, power and beauty, the
horse was vital in agrarian economies before the Industrial Revolution"
(http://www.unicover.com/H0003560.htm). Farmers used them to clear land and plow
fields. Cowboys and shepherds used them to herd cattle and sheep, while people in the
cities depended on them for delivering goods. Artists also portrayed horses in scenes of
leisure and sport, such as horse racing.
During prehistoric times, art was almost entirely limited to the drawings of animals. This
was probably due to the prehistoric people's dependence on animals for food
(http://www.collegetermpapers.com). "The life of Paleolithic man was determined by the
animals around him" (Brion, 10). The deer, cows, horses, and bison that appeared in
their pictures all inhabited Europe at that time. It is thought that the cavemen painted and
carved because they believed that the pictures would bring them luck in their future hunts
(Wallace). It is also thought that the spear marks drawn onto the animals or the actual
spear points on these animals were to simulate the killing of these animals, possibly a
form of magic, intended to weaken the animal and make them easier to hunt (Mittler).
The earliest works of art depicting horses (figure 1) were found in the Lascaux caves in
Southern France. They were painted on the walls with black, red, yellow and brown
earth. The prehistoric horse had much larger bodies and shorter legs than those of our
horses today and archaeologists believe that these horses were hunted for food (Zuelke).
Fig. 1
Wall painting depicting a horse, Lascaux, France
(King "
Roundhill, 6)
As well as in the caves, horses were found in various forms of Egyptian art. Figure 2,
Horse and Rider was a statue found in an ancient Egyptian tomb and is about 3,500 years
old (Zuelke). It is carved of wood, and the lines are made with white paint. It is thought
to represent a servant or groom who took care of the horses. Models of servants and
animals were often buried in the tombs along with the many things a Pharaoh and his
family were thought to need in the after-life (Clark).
Fig. 2
Horse and Rider (Zuelke, 8)
When the Moslems conquered Persia in 641 AD, all animal designs were prohibited by
the Moslem religion (Zuelke). For this reason Persian art showed no horses for many
years. The ruling was gradually relaxed, and people and animals began to appear in the
miniatures or small drawings which were made on manuscripts. The artist created Four
Horses (figure 3) using circular lines that all have a common center of interest, called
concentric design (Zuelke). In this piece, the four horses can be seen and were drawn
using only two heads, two tails, and eight legs.
Fig. 3 Four Horses(Zuelke, 15)
The impulse to represent animals as accurately as possible was widespread in Classical
and Hellenistic art. Classical art expressed the Greek idea of perfection in all subject
matter - a horse, a human, or a building (Zuelke). One of the most beautiful buildings
created in Greece was the Parthenon, a temple built for worship of the Greek goddess
Athena. The buildings exterior was decorated with many marble sculptures and
interestingly many of these sculptures portrayed horses. The east end of the Parthenon
contained four horses and a chariot; the chariot was for Selene, the Greek goddess of the
moon (Brion). Much of the work has been lost, however the beauty and gracefulness of
this sculpture can be seen from the remaining horse's head (figure 4).
Fig. 4
Head from Chariot of Selene, Parthenon (Zuelke, 17)
As well as on the east end, horses were found in many of the relief sculptures that circled
around the outer walls of the Parthenon. Procession of Horseman (figure 5) is a section of
this continuous band of decoration. It tells a story about a procession of men and women
who marched from the foot of the Acropolis up to the Parthenon. The position of the
horses' heads and necks portray eagerness, full of movement and energy, firmly
restrained by the riders (Clark).
Fig. 5
Procession of Horseman, Parthenon
(Brion, 59)
The earlier Greek art from the Archaic period, created more than 300 years before the
building of the Parthenon, also included many sculptures of horses. Many of the Archaic
horses, such as figure 6, are rigid and built without expression. This shows how
drastically the style of Greek sculpture changed, from the "frozen figures of the Archaic
style" to the "eternal motion of the figures of the classical style of art" (Zuelke, 19).
Fig. 6
Archaic Horse
(Zuelke, 19)
When the Romans conquered the Greeks and other people of the world they borrowed
many of their ideas. The Roman conquerors saw the horses on the Parthenon and wanted
to make their own. "Although the Roman leaders used the skills of the Greek artists, they
did not use all their ideas about style" (Zuelke, 25). The Romans wanted to represent the
personality and strength of the empire and individuals as much as possible, rather than
the Greek idea of general perfection. The Roman Emperor Marcus Aurelius was the
subject for an important equestrian statue (figure 7). The reign of Marcus Aurelius (161180 A.D.) was a period of prosperity and confidence in the Roman Empire, and it became
a model for later European monarchies. It is a bronze, larger than life sculpture which
shows the emperor holding out his hand in a gesture, possibly signifying mercy as some
historians state that a fallen enemy may have been portrayed begging for forgiveness
under the horses raised hoof
(http://www.theaha.org/tl/LessonPlans/nc/Kinard/marcus.htm).
Fig. 7 Marcus Aurelius
(Zuelke, 25)
Ancient artists of Asia worked with the horse perhaps longer than any other civilization
(http://www.imh.org/imh/exh1.html). Horses were a popular subject in Chinese art
especially during the Tang dynasty which ruled China from 618 to 907 A.D. At that
time, a school specialized in portraying horses was founded by an artist named Han Kan
(Zuelke). Chinese artists attempted to portray the inner feelings or 'soul' of their subjects,
rather than reproduce its actual appearance. As well, many of the Chinese were skilled in
showing the horse in action (Zuelke). Washing Horses in the River (figure 8) best
exemplifies the skills and goals of the Chinese artists during that time.
Fig. 8 Washing Horses in the River
(Zuelke, 31)
Similar to the Chinese, many Japanese artists created works depicting horses. In fact, the
horse has been so important to the Japanese that one of their calendar years is called 'the
year of the horse.' For more than 2,000 years, believers have offered horses to the
religious shrines so that the Japanese gods could ride them. These horse offerings have
taken many forms; at one time they were clay or terracotta statuettes and later the actual
horse was given to the shrine. Pictures of horses are now offered to the gods during a
festival held on the first day of September of each year at the shrine near Tokyo. Zuelke
stated that the horses were given to the gods, so they could visit with each other and
decide upon the marriages of young girls. The piece Mare and Foal (figure 9), is a
woodcut print and is one of the first to show a horse lying down with its young.
Fig. 9 Mare and Foal, Hokusai
(Brion, 111)
While art flourished in India, China, and Japan, it also developed in North and South
America. Horses played an important role in the lives of the settlers and Indians as well.
Carvings, such as the Horse Dance Stick (figure 10) were used during the Horse Dance
and other celebrations. Horse dance sticks were traditionally used by Plains Indians in
recounting events that happened to a warrior and his horse. Upon the death of a horse, a
horse stick would be carved to commemorate it. It was said that "the bond between a
warrior and his horse was a powerful one, and the warrior would look forward to being
reunited with a favourite horse" (Mittler, 213).
Fig. 10
Horse Dance Stick
(Mittler, 213)
The art that developed in Europe during the Middle Ages was quite different from that of
the Natives. Decoration was needed for the cold and damp stone castles which made the
art of weaving and embroidering tapestries popular. Most of these tapestries were hung
on the walls to keep out the cold, although some were hung from windows and bridges
during celebrations. Scenes on the tapestries often included horses and The Bayeux
Tapestry (figure 11) is one such decoration. It depicts the story of William the Conqueror
who invaded England in 1066 A.D. The complete embroidered tapestry is 231 feet long
and 20 inches wide. The needlework was done on brown linen and contains 1,512
figures, 200 of which are horses. Although figure 11 is only a segment of the tapestry, it
is said that no two figures on it are alike (Zuelke).
Fig. 11
Detail from Bayeux Tapestry
(Zuelke, 34)
Horses played a relatively little role in early medieval art as Clark argued that their
curves could not be assimilated into the angularity of Gothic. However, the later Middle
Ages invented one of the most beautiful of all animals, which in fact never existed, that
"exquisite white pony with a goat's beard, a flowing tail and a long horn growing straight
out of the middle of its forehead, known as the unicorn" (Clark, 37). Lady and the
Unicorn (figure 12) is said to be one of the greatest masterpieces of late Gothic art.
Fig. 12
Lady and the Unicorn
(Clark, 37)
In the same years that the Gothic north was creating this variation on a horse, the
Renaissance was starting and the anatomy of the horse became a subject of scientific
study. "The Renaissance was an age which greatly enriched the quality of life for man
and horse alike" (http://www.imh.org). Vehicle design was advanced and horses
assumed a more prominent role in the transportation of goods and people.
One of the best known artists of the Renaissance is Leonardo da Vinci. It was said that da
Vinci knew the horse unusually well. At almost every point in his career as an artist, he
was at work on some commission that involved a horse (Zuelke). He was "fascinated
both by the formal beauty of its body repose and by its wild, superhuman energy in
motion" (Clark, 111). Leonardo studied both the horse's skeletal and muscular systems,
as well as its motion, with both insight and accuracy. "No on has ever observed horses
more sympathetically, and also more scientifically" (Clark, 39). It was said that in his
studies he actually dissected dead animals so that he could better understand how their
bones and muscles were joined. It was said that he started writing a book on the
anatomy, or structure, of the horse, but the book was never completed (Wallace). Some
examples of his studies can be seen in figure 12.
Fig. 12 Drawings and Studies of Horses, Leonardo da Vinci
(Zuelke,
38)
George Stubbs, an English painter between 1724 and 1806, was also interested in the
horse. He became fascinated by the animal after he saw a lion devour a horse, and later
wrote a book on its anatomy. Mares and Foals in a Landscape (figure 13) is one painting
typical of the many hundreds Stubbs completed during his lifetime. The five horses are
formed by a series of thousands of fine brush strokes that created a graceful round feeling
which further lends to the serenity or calmness of the scene (Zuelke).
Fig. 13
153)
Mares and Fouls, George Stubbs
(Clark,
Not only was Stubbs interested in knowing the correct position of the bones and muscles
and how they were articulated (Wallace), but as seen in the Lion Devouring a Horse
(figure 14) he was also one of the first artists to be curious about the animal's expression,
particularly how it changed its stance and appearance when it was frightened or angry
(Clark). In this piece the horse is totally transformed from the proud animal that is
usually represented. Its muscles are tense and exaggerated, and the expression of the
horse's face is distorted by fear.
Fig. 14
Lion Devouring a Horse, George Stubbs
(Clark,
214)
Another great master of the horse was Edgar Degas. Degas brought an intensified sense
of movement to animal painting. Clark states that he never painted a horse in isolation
and that his horses were always part of a general scene, at the beginning or at the end of a
race. It was also said that he loved the colour and excitement of the racehorse, and "part
of that excitement lay in the awareness of where the horses had been the moment before
and where they would be the moment after" (Clark, 163). In The False Start (figure 15),
painted about 1870, the horse is caught in a pose that obviously could not be held for
more than an instant. He also suggests movement by placing the horse and grandstand to
one side of the composition, suggesting the space into which the horse is about to move
(Clark).
Fig. 15
The False Start, Edgar Degas
(Clark, 163)
Following the Renaissance was the beginning of the Romantic movement. It has been
said that this movement "describes a feeling more than a painting technique" (Zuelke,
43). Expanding on the work of Stubbs (mentioned above), Romanticists wanted to record
the emotions in life (Wallace). Eugene Delacroix was an important Romantic painter in
France between 1791 and 1824, and was particularly interested in the horse. "The image
of the horse reflects the reality of society during the Romantic era"
(http://www.equerry.com/html/eq_ate701.htm). In most of his paintings "the horses are
literally out of their minds, possessed by passion" (Clark, 156). White Horse Frightened
by a Storm (figure 16) is a good example of this art period as it shows clearly the terror
felt by the horse coupled with its loss of control. Alarmed by lightening, his whole body
is seems to be shaking with fear. "The crescent ears, pointed to catch the thunder's
reverberations, express terror quite as much as do the eyes and nostrils" (Berry, 32).
Fig. 16 White Horse Frightened by a Storm, Eugene Delacroix
(Clark,
156)
Following the Romantic movement, artists began to paint familiar scenes and trivial
events as they really looked, known as Realism. Rosa Bonheur (1822-1899), was an
artist who effectively combined the style of Romanticism with the accuracy of Realism.
It was said that she often found subjects for her works at markets or fairs (Mittler). In
The Horse Fair (figure 17), she combines her knowledge and admiration of horses with
an understanding of the emotion and energy found in paintings by Delacroix (mentioned
above). She shows horses being led by their handlers around the exhibition area of the
fair. The scene is full of tension and excitement and is so realistic it has been said that
"when you look at this painting and see the many large black horses and grey horses
being raced around in a circle, you want to rub your eyes to remove the dust the horses
kick up as they sweep by" (Zuelke, 46). "The result is a thrilling blend of movement,
drama, and reality" (Mittler, 494).
Fig. 17
The Horse Fair, Rosa Bonheur
(Zuelke, 46)
Furthering the quest for realism, Impressionists "stressed a candid glimpse of their
subject and emphasized the momentary effects of light on colour" (Mittler, 496). Edgar
Degas (mentioned above as an artist during the Renaissance), was also interested in
preserving the activities of the horse in sculpture. Figure 18, Horse Clearing an Obstacle,
is a bronze statue depicting a horse in action. The horse does not have any ears or mane
however, as he wanted to give the feeling of the jump (Zuelke). Degas avoided the use of
details in his art as he wanted to capture the illusion of swift movement. "After all, he
reasoned, it is impossible to observe all the details of a horse as it dashes by" (Mittler,
502).
Fig. 18
Horse Clearing an Obstacle, Edgar Degas
(Zuelke, 54)
Animals, such as horses have been found in many of the modern art movements, such as
Expressionism. Expressionists, such as Franz Marc (1880-1916), used animals such as
horses to communicate a strong emotional feeling through his artwork. He concentrated
on the calmer and less disturbing aspects of life making animals his favourite subject.
Figure 19, Blue Horses, was painted in many shades of blue, as Marc felt that this colour
helped show the harmony and rhythm of nature (Zuelke).
Fig. 19
Blue Horses, Franz Marc
(Zuelke,
55)
The horse has been one of the most popular subjects among artists throughout the ages.
This alone shows the importance of a horse in man's life (Zuelke). "Throughout the ages
the horse has been indispensable to mankind; as tiller of his fields, as carrier of his
burdens, as partner in his endless wars and as comrade in his sports"
(http://www.mingei.org/brhorse.html).
More than any other creature (other than the human), horses have continuously inspired
artists and it is no wonder since "the splendid curves of energy - the neck and the rump,
united by the passive curve of the belly, and capable of infinite variation, from calm to
furious strength - are without question the most satisfying piece of formal relationship in
nature" (Clark, 36). Horses have been admired and loved for their power and beauty,
from the prehistoric cave painters to the people of today (Zuelke). "The image of the
horse is interwoven in the imagination, the affection, the very core of humanity and this
deep relationship has, inevitably, been manifested vividly in all of the arts"
(http://www.mingei.org). "Horses inhabit two worlds of man's imagination. One is the
ordered world of everyday life, where they are the servants of man, respected and
admired but still submissive. The other is the world of beauty and energy, where the
horse is a force of nature, rebellious, untamed and elemental" (Clark, 128). The horse is
an animal which has preoccupied artists throughout history, and has played its part in
both of these contrasting world views.
Works Cited
"Amazing Animals in Art." Curriculum Materials - The Minneapolis Institute of Arts.
[http://www.artsmia.org/animals/] (Oct. 2002).
Berry, Ana. Animals in Art. London: Chatto " Windus, 1971.
Brion, Marcel. Animals in Art. London: George G. Harrap " Co. Ltd, 1959.
Cattrell, Diane. "Romantic Expression of the Horse in 19th Century Literature and Art."
Articles that Educate. [http://www.equerry.com/html/ate/eq_ate701.htm] (Nov.
2002).
Clark, Kenneth. Animals and Men. New York: William Morrow and Company, Inc.,
1977.
Cooke, Bill. "The International Museum of the Horse." History Exhibits - The Kentucky
Horse Park. [http://www.imh.org/imh/exh1.html] (Nov. 2002).
"Horses from Art of the World." Marshall Islands.
[http://www.unicover.com/H0003560.htm]
(Nov. 2002).
King, Penny " Roundhill, Clare. Animals. London: Crabtree Publishing Company, 1996.
Klingender, Francis. Animals in Art and Thought. Massachusetts: The M.I.T. Press,
1971.
"Marcus Aurelius." AHA Teaching " Learning in the Digital Age.
[http://www.theaha.org/tl/LessonPlans/nc/Kinard/marcus.htm] (Nov. 9, 2002)
Miller, Jenny. "Animal Influences in Paleolithic, Egyptian and Greek Art." College Term
Papers.com.[http://www.collegetermpapers.com/TermPapers/Art/Animal_Influen
ces_in_Paleolithic_Egyptian_and_Greek.shtml] (Oct. 2002).
Mittler, Gene. Art in Focus. California: Glencoe/ McGraw-Hill, 1994.
Nickolas, Agafonov. "Horse-in-Art.com." [http://horse-in-art.com/index.html] (Nov.
2002).
Seawright, Caroline. "Animals of Ancient Egypt." Tour Egypt Monthly - An Online
Magazine. [http://www.egptmonth.com/mag06012001/magf7.htm] (Oct. 2002).
"The Horse: The Horse in Folk Art." Mingei International Museum.
[http://www.mingei.org/brhorse.html] (Nov. 2002).
Wallace, George. Themes in Art - The Artist's Zoo. Toronto: Holt, Rinehart and Winston
of Canada, 1970.
Zuelke, Ruth. The Horse in Art. Minneapolis, Minn.: Lerner Publications Company,
1968.
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