The wild horse is thought to have originated in North America several million years ago.
They migrated to Eurasia and back and eventually died out on this continent about 11,000 to 13,000 years ago. Christopher Columbus brought domesticated horses to the Virgin Islands in 1493 and then Mexico by 1519. There are still debates about whether or not the modern horse is native to the continent.
There is no debate, however, about the importance of the horse in the development of America from their adoption by the Native tribes of the Plains and the West to the horses brought by settlers on the East Coast.
The domesticated horse has been, literally, the workhorse for American farmers. Joel Babb painted The View from the Knoll, Morrill Farm, Sumner, Maine, in 2011 when it was “one of the few working farms left
in Sumner…It is exciting to spend time painting on a working farm, where the seasons and the weather are so important to the life of the farm…Painting on the farm you begin to understand the farmer’s perspectives, his love for the land and the life, and the dedication of his whole family.”
Although working farms are disappearing, the Amish continue to maintain their traditional ways with sturdy draft horses pulling their farm machinery and even-tempered saddlebreds pulling their iconic buggies on busy, 21st-century roads.
Loren Entz grew up in the farm country of Kansas and now lives in Montana, where he worked as a ranch hand. His paintings of rural life come from his fi rsthand experience and reflect a timelessness that echoes the life of the Amish. Amish Autumn depicts grazing horses next to a fi eld with characteristic Amish haystacks and a windmill in the background.
Diese Geschichte stammt aus der May 2019-Ausgabe von American Art Collector.
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Diese Geschichte stammt aus der May 2019-Ausgabe von American Art Collector.
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FULL EXPOSURE
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Autumnal Light
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An Enchanting Evening
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Timeless Tales
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Coming off his series that focused on San Francisco and Los Angeles freeway signs, artist Eric Nash’s sights are now set on New York. Now on view at George Billis Gallery's Manhattan location are seven of Nash's new oil paintings and two drawings that explore the signage of New York City freeways. Although Nash's work is tightly rendered, he doesn’t consider himself a photorealist, but rather someone who utilizes those techniques to express ideas.
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