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Cleopatra Denile
ODERINT DUM METUANT
angeldoutzen: cannes 2013
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101171 Notes  |  Reblog
cavetocanvas: George Stubbs, A Gray Stallion in a Landscape, n.d.
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laviearose: laviearose anja rubik photo by glen luchford-2012
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artmastered: Giovanni Boldini, The Black Sash, c.1905
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supermodelshrine: Naomi by Richard Avedon, 1995
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cavetocanvas: George Stubbs, A Couple of Foxhounds, 1792 From the Tate Gallery: A Couple of Foxhounds was probably commissioned by the Reverend Thomas Vyner of north Lincolnshire. Stubbs was known to have worked for the Vyner family on his return to Lincolnshire in 1776 and again in 1792. Vyner was an avid sportsman and equestrian, and an expert on breeding hounds. He was a close friend of Charles Anderson-Pelham, later 1st Baron Yarborough, and the two often hunted together at Brocklesby, the Pelham estate. Stubbs painted Ringwood(collection Earl of Yarborough), a portrait of the leading hound in the Brocklesby pack, the same year he made this picture, and the hounds depicted in this work are probably of the same breeding. It was Stubbs’s practice to paint the foreground animals first, and the background and sky later, painting up to and often over the outline of the figures. His increasingly sophisticated style is apparent if one compares this picture to his earlier depictions of hounds, such as the 1762 Foxhounds in a Landscape (collection Lady Juliet de Chair), in which he posed five dogs in a frieze-like arrangement. Whereas the dogs in the 1762 portrait, equally well-painted, are formally posed, this pair are engaged in almost human interaction.
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cavetocanvas: George Stubbs, Bay Hunter by a Lake, 1787
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mirnah: Kristina Šalinović by Kerry Dean for Flair, May 2013
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superseventies: Jim Henson at work.
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cavetocanvas: George Stubbs, Mares and Foals in a River Landscape, c. 1763-68 From the Tate Gallery: The original idea for the frieze-like arrangement of the early mares and foals paintings may have been suggested by engravings by Matham after Collaert and others, which show animals as if on a stage in the foreground, against generalised backgrounds. For most of his mares and foals subjects Stubbs almost certainly drew the animals from life, perhaps first making numerous studies and then carefully arranging them into an ideal composition; however, no such studies have been located. It is known from an unfinished picture in the series that the artist first painted the horses in perfect detail, stretching them across a blank background like the figures in a classical frieze, before carefully inserting the (probably imaginary) landscape into the background. The resulting complex compositional structure demonstrates Stubbs’s knowledge of classical principles, gained on a trip to Italy in 1754, as well as his sense of pattern and rhythm. Mares and Foals in a River Landscape utilises a classical composition which gives an overall symmetry and balance to the group, in which the three mares and their foals are placed so as roughly to form a cone, with their rumps marking the perimeter and their heads the apex. The feeding foals are essential to the composition, allowing the spectator’s eye to be drawn over the whole group in a slow revolving rhythm.
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