Silla Horse Painting

Silla Horse Painting

Famous Horse Paintings


Meredith Michaels Beerbaum Print

Portrait of a Horse Painting

Classical Horse Portrait Print

Chicago Kosciuszko Statue 15 of 100 Painting

John Wayne Portrait Print

The Battle of Cedar Creek Virginia Painting

Kristin Scott Thomas Print

Chicago Kosciuszko Statue 16 of 100 Painting

Lucky Luke and Morris Painting Print

Red Arabian Horse Impressionistic painting Painting

Cowboy sepia edit Painting

A Bay Hunter, A Springer Spaniel And A Sussex Spaniel, 1782 Painting

Indian Attack At The Little Big Horn Painting

The Duke American Legend Painting

The Prayer at Valley Forge Painting

Sam Elliot The Lone Rider sepia Painting

Abraham Lincoln Riding his Judicial Circuit Painting

Molly Long Legs With Her Jockey 1761 Painting

General William T Sherman Painting

The Procession of the Trojan Horse into Troy Painting

Secretariat, Living the Life Painting

The Vision of Saint Eustace Painting

Joseph sold by his brothers Painting

The Blue Rider, 1903 Painting

Autographed Roy Rogers and Horse Trigger Painting

The Parade, Race Horses in front of the Tribunes, 1868 Painting

Daniel Boone escorting settlers through the Cumberland Gap Painting

Puerto Rican Paso Fino Rider Painting

Grant and His Generals Painting

A Dapple Grey Hunter With Two Foxhounds Beside A Lake Painting

Elijah taken up into Heaven in the Chariot of Fire Painting

Horses at the Porch Painting

The Death of Markos Botsaris Painting

Knight at the Crossroads Painting

Horse with Saddle and Bridle 1868 - 1870 Painting

Bonaparte Crossing the Alps 1800 Painting

Elijah Taken Up in a Chariot of Fire Painting

The Park and the Angel of Death Painting

Pumpkin With A Stable Painting

The Apotheosis of Hercules Painting

The Caravans Gypsy Encampment near Arles Painting

The horse and the snake Painting

At the Races in the Countryside Painting

A Meet of the Fife Hounds, 1833 Painting

Beauty of the Prairie Print

1 - 72 of 1,496 famous horse paintings for sale

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Horse And Wagon Paintings


Assault and Battery on Rainbow Row Painting

Cotton Field And Baker's Mtn Painting

Chautauqua - Currier And Ives Ride Painting

Rylies Merchantile Painting

Tuscan Landscape Painting

A Wagon Train on the Plains Painting

The Lincoln Cotton Field Painting

Rush Hour: Los Angeles, Spring St. Looking North Painting

Bronc For Breakfast Painting

Early Morning Drive Painting

Balloons Over the Winery 1 Painting

A Warwickshire Lane Painting

Emigrants Crossing the Plains Painting

A Halt By The Wayside Painting

The Life of a Fireman, The Metropolitan System, 1866 Painting

American Progress Painting

The Timber Wagon in Winter Painting

New Yorker April 24th, 1926 Painting

Horse And Carriage In New York City Painting

Shaking Down Cider Apples Painting

Twilight at the Vineyard Painting

Winter in the Country, Getting Ice, 1864 Painting

The Pioneers Home on the Western Frontier, 1867 Painting

Beached Vessels and a Wagon near Trouville Painting

London to Bristol and Bath stage coach Painting

Cowboys And Indians Painting

Landscape With Horses And A Cart, 1857 Painting

All The Christmas Glitter Painting

Landscape with carriage or House beyond the trees Painting

Landscape with Figures by a Windmill Painting

A Winter River Landscape Painting

Australian Stage Coach Being Attacked By Outlaws Painting

Returning From Market Painting

Coaching, Or The Mail Guard, Engraved By Matthew Dubourg Painting

Bud Wagon and Horses Painting

The Catskill Mountains From The Eastern Shore Of The Hudson Painting

Red Vineyard At Arles Painting

Gate of a Mosque built by Hafiz Ramut Painting

The Triumph Of Death Painting

Mail Coaches on the Road - The 'Quicksilver' Painting

Snow in New York Painting

Lonesome Journey Painting

Langlois Bridge, Le Pont de Langlois a Arles, 1888 by van gogh Painting

Old Mattress Factory, New Orleans Painting

The Fraser family dressed up warm in the horsedrawn carriage Painting

1850s Preparing For Market - Currier & Painting

The Emigrants, 1904 Painting

Vintage Wagon on Blue Ridge Parkway II Painting

Indians attacking a pioneer wagon train Painting

Boy with Toy Horse and Wagon Painting

Between Tallarook and Yea Painting

Landscape with Covered Wagon Painting

Vintage Wagon on Blue Ridge Parkway III Painting

Horse and Carriage Painting

Wooded landscape with horses carts and to the market attracting farmers Painting

Illustration Silhouette Wagon Victorian Painting

1 - 72 of 281 horse and wagon paintings for sale

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Pablo Picasso, Guernica

What would be the best way today to protest against a war? How could you influence the largest number of people? In 1937, Picasso expressed his outrage against war with Guernica, his enormous mural-sized painting displayed to millions of visitors at the Paris World’s Fair. It has since become the twentieth century’s most powerful indictment against war, a painting that still feels intensely relevant today.

Pablo Picasso, Guernica, 1937, oil on canvas, 349 cm × 776 cm. (Museo Reina Sofia, Madrid)

Antiwar icon

Much of the painting’s emotional power comes from its overwhelming size, approximately eleven feet tall and twenty five feet wide. Guernica is not a painting you observe with spatial detachment it feels like it wraps around you, immerses you in its larger-than-life figures and action. And although the size and multiple figures reference the long tradition of European history paintings, this painting is different because it challenges rather than accepts the notion of war as heroic. So why did Picasso paint it?


Postcard of the International Exposition, Paris, 1937 (from a series of 20 detachable cards, edited by H. Chipault)

In 1936, Picasso (who was Spanish) was asked by the newly elected Spanish Republican government to paint an artwork for the Spanish Pavilion at the 1937 Paris World’s Fair. The official theme of the Exposition was a celebration of modern technology. Yet Picasso painted an overtly political painting, a subject in which he had shown little interest up to that time. What had happened to inspire it?

Crimes against humanity: an act of war

Guernica in ruins, 1937, photograph (German Federal Archives, bild 183-H25224)

In 1936, a civil war began in Spain between the democratic Republican government and fascist forces, led by General Francisco Franco, attempting to overthrow them. Picasso’s painting is based on the events of April 27, 1937, when Hitler’s powerful German air force, acting in support of Franco, bombed the village of Guernica in northern Spain, a city of no strategic military value. It was history’s first aerial saturation bombing of a civilian population. It was a cold-blooded training mission designed to test a new bombing tactic to intimidate and terrorize the resistance. For over three hours, twenty five bombers dropped 100,000 pounds of explosive and incendiary bombs on the village, reducing it to rubble. Twenty more fighter planes strafed and killed defenseless civilians trying to flee. The devastation was appalling: fires burned for three days, and seventy percent of the city was destroyed. A third of the population, 1600 civilians, were wounded or killed.

Picasso hears the news

On May 1, 1937, news of the atrocity reached Paris. Eyewitness reports filled the front pages of local and international newspapers. Picasso, sympathetic to the Republican government of his homeland, was horrified by the reports of devastation and death. Guernica is his visual response, his memorial to the brutal massacre. After hundreds of sketches, the painting was done in less than a month and then delivered to the Fair’s Spanish Pavilion, where it became the central attraction. Accompanying it were documentary films, newsreels and graphic photographs of fascist brutalities in the civil war. Rather than the typical celebration of technology people expected to see at a world’s fair, the entire Spanish Pavilion shocked the world into confronting the suffering of the Spanish people.

Later, in the 1940s, when Paris was occupied by the Germans, a Nazi officer visited Picasso’s studio. “Did you do that?” he is said to have asked Picasso while standing in front of a photograph of the painting. “No,” Picasso replied, “you did.”

World traveler

When the fair ended, the Spanish Republican forces sent Guernica on an international tour to create awareness of the war and raise funds for Spanish refugees. It traveled the world for 19 years and then was loaned for safekeeping to The Museum of Modern Art in New York. Picasso refused to allow it to return to Spain until the country “enjoyed public liberties and democratic institutions,” which finally occurred in 1981. Today the painting permanently resides in the Reina Sofia, Spain’s national museum of modern art in Madrid.

What can we see?

This painting is not easy to decipher. Everywhere there seems to be death and dying. As our eyes adjust to the frenetic action, figures begin to emerge. On the far left is a woman, head back, screaming in pain and grief, holding the lifeless body of her dead child. This is one of the most devastating and unforgettable images in the painting. To her right is the head and partial body of a large white bull, the only unharmed and calm figure amidst the chaos. Beneath her, a dead or wounded man with a severed arm and mutilated hand clutches a broken sword. Only his head and arms are visible the rest of his body is obscured by the overlapping and scattered parts of other figures. In the center stands a terrified horse, mouth open screaming in pain, its side pierced by a spear. On the right are three more women. One rushes in, looking up at the stark light bulb at the top of the scene. Another leans out of the window of a burning house, her long extended arm holding a lamp, while the third woman appears trapped in the burning building, screaming in fear and horror. All their faces are distorted in agony. Eyes are dislocated, mouths are open, tongues are shaped like daggers.

Pablo Picasso, Guernica, 1937, oil on canvas, 349 cm × 776 cm. (Museo Reina Sofia, Madrid)


Picasso chose to paint Guernica in a stark monochromatic palette of gray, black and white. This may reflect his initial encounter with the original newspaper reports and photographs in black and white or perhaps it suggested to Picasso the objective factuality of an eye witness report. A documentary quality is further emphasized by the textured pattern in the center of the painting that creates the illusion of newsprint. The sharp alternation of black and white contrasts across the painting surface also creates dramatic intensity, a visual kinetic energy of jagged movement.

Visual complexity

On first glance, Guernica’s composition appears confusing and chaotic the viewer is thrown into the midst of intensely violent action. Everything seems to be in flux. The space is compressed and ambiguous with the shifting perspectives and multiple viewpoints characteristic of Picasso’s earlier Cubist style. Images overlap and intersect, obscuring forms and making it hard to distinguish their boundaries. Bodies are distorted and semi-abstracted, the forms discontinuous and fragmentary. Everything seems jumbled together, while sharp angular lines seem to pierce and splinter the dismembered bodies. However, there is in fact an overriding visual order. Picasso balances the composition by organizing the figures into three vertical groupings moving left to right, while the center figures are stabilized within a large triangle of light.


There has been almost endless debate about the meaning of the images in Guernica. Questioned about its possible symbolism, Picasso said it was simply an appeal to people about massacred people and animals. ”In the panel on which I am working, which I call Guernica, I clearly express my abhorrence of the military caste which has sunk Spain into an ocean of pain and death.” The horse and bull are images Picasso used his entire career, part of the life and death ritual of the Spanish bullfights he first saw as a child. Some scholars interpret the horse and bull as representing the deadly battle between the Republican fighters (horse) and Franco’s fascist army (bull). Picasso said only that the bull represented brutality and darkness, adding “It isn’t up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words. The public who look at the picture must interpret the symbols as they understand them.”

In the end, the painting does not appear to have one exclusive meaning. Perhaps it is that very ambiguity, the lack of historical specificity, or the fact that brutal wars continue to be fought, that keeps Guernica as timeless and universally relatable today as it was in 1937.

The History of the Dala Horse

The image of the horse goes back thousands of years. The magic and mystique surrounding the horse inspired people to recreate their image in cave and rock paintings. Horses were highly valued and became a symbol of strength and courage. They arrived in Sweden 4000 years ago and were tamed and domesticated around that time.

In the 17th century little wooden horses were sold at markets in small towns and villages in Dalarna, in central Sweden. A hundred years later wooden horses were carved by men working in the forests during long winter evenings and brought back to the village for the children to play with. This is how the little wooden horse from Dalarna became a treasured object. These simple wooden horses were later painted in bright colours inspired by the flower patterns painted on furniture and walls in the region. During this time travelling salesmen selling traditional household items would also bring Dalahastar to use as payment for board and lodgings. They also became an important source of income for poorer families. Even young children had to learn to carve wooden horses after returning home from school. The children of one such family started a small business at the ages of13 and 15 in 1928. Their children and grand children are still producing the Dala horses to this day in a little village called Nusnas in Dalarna. Their Dalahast has now become an authentic symbol of Sweden.

It wasn’t until the World Exhibition in New York in 1939 that the Dala wooden horse became famous around the world. A giant painted Dala horse was placed outside the Swedish pavilion and caused a sensation among the visitors. During the year after the exhibition 20 000 Dala horses were shipped over to New York and so the Swedish Dala horse became a symbol for Sweden.

Horses Throughout Art History Diorama Contest!

Each year, BreyerFest hosts a Diorama Contest that attendees are invited to participate in. Participation in the contest is open to (and free for) VIP and All-Access ticket holders and the contest theme ties into the BreyerFest theme in some way. In the last few years, the entrants who have contributed to the Diorama Contest have blown our minds (and the minds of our esteemed judges) with their creativity, ingenuity, and the various ways in which they interpret each year’s theme.

With this year’s BreyerFest focused on color and art we can’t wait to see what diorama entries are submitted for 2021’s Diorama Contest – Horses Throughout Art History.

Participants in this year’s Horses Throughout Art History Diorama Contest are invited to create a diorama, using any scale Breyer model, which recreates a scene of a horse in art. The work you select as the inspiration for your diorama project MUST include at least one horse in it, but the original medium of the piece you draw inspiration from can be any type of art: a clay pot, a painting, a sculpture, a photograph, etc. Your diorama does not need to be an exact interpretation of the original artwork, but when compared side-by-side, it should be clear that your selected work was the inspiration for your diorama.

Entrants must select a work that is Public Domain/Open Access from one of the three provided source sites. You can watch our quick video explaining this here.

Participants must include a direct link to the original art piece they were inspired by for reference with their entry. This year’s contest is open only to All-Access and VIP All-Access ticket holders. All entries must fit into a 12” cube and must include at least one (1) Breyer model horse. Complete rules and information on how to enter can be found here. Please read the rules carefully.

The Calm and Controversy of 12 Horses in an Art Gallery

For a gallery with 12 horses and a line of visitors stretching out the door, Gavin Brown’s enterprise is exceptionally hushed. The restaging of Jannis Kounellis‘s 1969 piece “Untitled (12 Horses)” opened Wednesday and is only on through Saturday as the West Village gallery’s final hurrah before relocating uptown to Harlem.

When I asked gallery owner Gavin Brown what he thought it meant to bring these live animals into the space as art, he said: “I don’t think it’s about anything.” He added that it’s “more through the coverage than the art” that the piece takes on a meaning more than what it is, saying that the press reactions were part of what drove the crowds lined outside the building.

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

The display of animals as art has sparked complaints that the horses tethered to the walls weren’t able to move freely. However, Robert Clemens, who was visiting the exhibition on Friday and has had 17 horses, noted that the setup wasn’t at all different from a horse stall where they wouldn’t be able to turn around, and the concrete floor covered with rubber for their hooves was likewise much like good horse accommodations. “There’s nothing out of the ordinary going on here,” he said. Joe Andoe, an artist who regularly paints horses, said he wasn’t surprised about the turnout for the rare close encounter with the animals in Manhattan, and that he’d “heard they were going out of their way to take good care of the horses.”

On entering, visitors are advised to keep their voices down and stay a distance from the animals, something which attendants were enforcing. The space is cool and still, and the horse’s sleek bodies of rippled muscle and smooth manes are illuminated by the skylights. Similar to the original 1969 staging of the Kounellis piece at Rome’s Galleria L’Attico, there’s a consideration of the art in the beauty of an animal like a horse, which artists have been drawn to since the Lascaux caves were painted. Yet there’s also something absurd about their calm presence in this white-walled gallery space.

“It’s so quiet,” Melanie Kress, a curatorial fellow at Friends of the High Line, remarked after seeing the horses. “Having fallen in love with that piece in art history class, it’s still stunning.”

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

The line for Jannis Kounellis’s “Untitled (12 Horses)” at Gavin Brown’s enterprise

Jannis Kounellis’s “Untitled (12 Horses)” continues at Gavin Brown’s enterprise (620 Greenwich Street, West Village, Manhattan) through June 27.

Theodore Roosevelt Family's Horses

Theodore Roosevelt's love of fine horses was legendary and played a part in shaping his vigorous personal image and his advocacy of the "strenuous life." Roosevelt had been a rancher in the Dakota Territory, and his volunteer-mounted "Rough Riders" emerged as national heroes after the famous charge at San Juan Hill during the Spanish American War. After the assassination of President William McKinley in 1901, Roosevelt brought his image as a rugged outdoorsman and war hero to the White House. He made it his stage and "bully pulpit."

Theodore Roosevelt watching his son, Theodore Roosevelt Jr., jumps a hunter over a rail fence in 1907.

The Roosevelt family loved horseback riding and driving and did both often in the public eye. Late in his tenure, Roosevelt's presidential schedule included daily rides to Potomac and Rock Creek Parks with military aide, Archie Butt, a superb horseman. These excursions, often captured by newspaper photographers, had special rules governing the conduct of any guests riding with the president that were devised so as not to impede the pace of the ride. The Roosevelts were the last family to fully utilize the White House stables. When offered an automobile, the president said, "The Roosevelts are horse people."

Quentin Roosevelt on Algonquin at the White House, 1902.

Roosevelt's Rules for the Road

A typed sheet was prepared for guests with invitations to ride with President Roosevelt called Rules of the Road for Those Invited To Accompany the President on Horseback Rides:

First: The president will notify whom he wishes to ride with him. The one notified will take position on the left of the president and keep his right stirrup back of the president's left stirrup.

Second: Those following will keep not less than ten yards in the rear of the president.

Third: When the president asks anyone in the party to ride with him the one at his side should at once retire to the rear. Salutes should be returned only by the president, except by those in the rear. Anyone unable to control his horse should withdraw to the rear.

The Roosevelts piled into their landau carriages for a drive through Rock Creek valley, 1903 Ladies Homes Journal, December 1903.

The Sicilian Cart

A means of transport shaped by tradition and a repository for stories and memories: discover the origins of the Sicilian cart.

One of the best-known symbols of Sicilian folk iconography, the cart was created as a means of transport that responded to practical needs, but went on to be transformed into a vehicle for cultural transmission. Sculpture and painting were applied its various constituent parts to represent moments from the island’s history, or from epic stories or popular religion, creating valuable constructions that were genuine traveling works of art. Discover the beauty of this thoroughly Sicilian tradition.

The Sicilian cart is closely linked to the history of the island, but is hasn’t always existed, not least because the deterioration of the road network after the fall of the Roman Empire made two-wheeled vehicles almost unusable. It was only at the beginning of the nineteenth century that the cart began to be widespread, as prior to then all trade and transport were generally carried out by sea. From that moment on the horse-drawn cart began to be used to transport wood and agricultural products, such as sacks of grain, legumes, citrus fruits, almonds and wine barrels. Its use for transportation declined in the second half of the twentieth century, however, with the increasing popularity of motor vehicles, but, as we shall see, it continues to work its charms on popular sensibility and tourists.

Image Credit: Particolare di un carretto siciliano decorato con una scena di battaglia. Palermo, 1961 – Mario De Biasi per Mondadori Portfolio

The cart may be rather diminutive in size but because of its complexity, with the various parts encoded in a precise manner in terms of their shape, structure and decoration, it required a large number of craftsmen and skills. Creation of a cart necessitated a complex organisation of tasks and involved multiple groups of artisans with different specialisations. It was the product of several trades: a carver would create all the wooden parts (using various types of wood, such as walnut or beech), a blacksmith took care of wrought iron elements, a “carradore” (carter) assembled the various parts and a painter would decorate all the surfaces that could be painted (the parts that best lent themselves to this were the cart’s walls, where it was possible to depict entire scenes).

The painting on the carts had its own precise style: all the characters represented in the scene were placed in the foreground, with an elementary, stylised and simple perspective. The figures were generally two-dimensional and the colours were typically very bright, without shading or nuance. With their concentrated creativity and meticulous techniques, attention to detail was the watchword of the artistic woodcarvers and decorators when facing the challenge of carving and then decorating all the sides of the cart. As such, even a purely mechanical part like the wheel became an enchanting work of art. The wood could even be sculpted into battle scenes highlighted by the many bright colours.
Although it is much rarer now, the knowledge of these artisans has not disappeared as it was closely guarded and handed down over time, from father to son. It is rich and complex skill, kept alive by a tradition of craft families.

Image Credit: Carretto siciliano con cavallo. Palermo 1961 – Mario De Biasi per Mondadori Portfolio

The cart was a means of transport that combined functionality with the telling of stories and tales, serving as a kind of wandering picture book that variously depicted historical, literary, religious, or chivalrous events. The custom of painting the various parts of the cart took hold and became a tradition because it fulfilled several functions: it served as a form of protection that preserved the wood in the cart for longer, but also had a superstitious function as the scenes depicted (which were often religious) were considered auspicious and endowed with a protective power, including the power to ward off bad luck and negative events. The paintings could also be used as advertising, especially for carts with a commercial function, as they were useful for drawing potential customers’ attention and acting as a status symbol showing off the wealth of the owner. Sicilian carts were characterised by a “mania” for decoration, distinguishable by the richness of the forms and colours that enveloped the cart, even the horse, and a desire to maximise the presence of colours and decorative effects that resulted in a truly remarkable chromatic explosion. In different areas of Sicily the cart had different shapes and colours. In the Palermo area, for example, the​​ carts had a trapezoidal shape with yellow background and predominantly geometric decorations. In Catania, conversely, the cart had a rectangular shape with a red background and particularly intricate and detailed decorations.

Over the years the cart has lost its original purpose of transporting goods and has taken on a symbolic value as part of folklore, becoming the relic of a now endangered set of customs and traditions. Today it is above all an object of craftsmanship and one of the symbols of the island’s popular culture. Currently the carts are used for events and special occasions, and can often be admired at public festivals. One well-known example is that of S. Alfio, in Trecastagni, in the province of Catania, where carts leave from Catania and other surrounding areas at night and arrive in the morning to assemble in the village square. For those who would like to get to know the history of the Sicilian cart from close up, there are two museums dedicated to preserving the memory of this typical Sicilian tradition – Terrasini, in the province of Palermo, and Bronte, in the province of Catania.

Image Credit: italy, Sicily, Ravanusa, Ferragosto festival every 15 august assumption Mary day, wheel of traditional sicilian cart – MONDADORI PORTFOLIO/AGE
Cover Credit: Workshop Franco Bertolino, artist painter of traditional sicilian cart. Palerme (palermo). Sicily. Italy. – MONDADORI PORTFOLIO/AGE

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