Editor's note: The Tucson Museum of Art provided
source material to Resource Library for the following article or
essay. If you have questions or comments regarding the source material,
please contact the Tucson Museum of Art directly through either this phone
number or web address:
Horses of the West: Power,
Freedom, and Friendship
February 21 - September 13, 2015
The Tucson Museum
of Art is presenting the exhibition Horses of the West: Power, Freedom,
and Friendship from February 21 through September 13, 2015.
In the American West, horses are symbols of strength, wildness,
and companionship. Artistic views of these animals developed over the past
century reflect how they have become both necessary for livelihood and celebrated
in Western cultures. Whether residing on a working ranch or in the wilderness,
horses exemplify power and endurance as well as tenderness and tranquility.
Visitors may view multiple artistic perspectives of horses and their significance
to the West.
(above: Paul Dyck, Tipi Horses, 1963, oil on Masonite.
Gift of Mrs. Frederic O. Hess. 1985.5.1)
Indroductory wall panel text for the exhibition
Horses of the West: Power, Freedom, and Friendship
Powerful Icons
In the American West, horses are symbols of strength, wildness,
and companionship. Though horses have held a special place in human world
history for over six thousand years, artistic views of these animals over
the past century in the American West reflect how they have become necessary
for cultural livelihood. Whether residing on a working ranch or in the wilderness,
horses exemplify power and endurance as well as tenderness and tranquility.
Percherons, Morgans, American Quarter Horses, Fox Trotters,
Paints, and Arabians among other horse breeds have inherent and diverse
abilities for working on farms, ranches, or in the backcountry. Horses provide
more than services essential for hauling, traveling, and stability, but
offer camaraderie to those they assist. Overall, they are considered among
the most prevalent symbols of the American West.
It appears that innumerable, but sometimes opposing terms
describe the qualities of a horse: controlled or wild, reliable or erratic,
friend or foe, fighter or casualty. Horses continuously intrigue artists
as evident in their variety of representations. Some look at horses as beautiful,
pure, unrestricted, and free animals. Other artists depict horses as domesticated
and more restricted at a ranch, rodeo, or race.
Cultures of the West convey horses as powerful icons from
myths and creation stories. Their appearance may be found on baskets, clothing
or numerous objects in Native American artistic traditions. Horses themselves
may be outfitted in decorative objects as well: expert silver smiths and
leather crafters make saddles with embellished designs for parades or other
events. Plains Indian people ornament clothing in delicate beadwork with
horse likenesses and sometimes dress horses for parades with elaborate patterns
and designs.
Throughout this gallery, look at multiple artistic perspectives
of horses and their significance to the West. Some might be positive, some
negative. In portraying horses in art, there are endless possibilities.
Object labels from the exhibition
- Henry Zeigler
- American (U.S.)
- Pete Knight Winning Championship, c. 1948
- drypoint etching
- Gift of Mrs. Frances Emmons. 1975.11
-
- Zeigler specialized in depicting ranch life in paintings
and etchings, particularly of the horse and rider engaged in action. Scenes
of rodeo and racing enhance the anatomical features of horses, and the
artist chose to focus on this dynamic theme. He created an etching featuring
Pete Knight, a world renowned rodeo champion in the 1930s.
-
-
- Dan Bates
- American (U.S.), b. 1951
- Pistol Charge, 1981
- bronze, 4/10
- Gift of Mr. and Mrs. Dan Bates. 1981.14.1
-
- Inspired by an incident he witnessed at an Apache War
re-enactment at Ft. Huachaca, Bates depicts the swift movement of two charging
horsemen; one rearing and the other falling to the ground. Known for equestrian
sculpture and an accomplished equestrian himself, he sought for the accuracy
of the horses in this work.
-
-
- Fritz Scholder
- Luiseño, American (U.S.), 1937-2005
- Galloping Indian After Remington, 1976
- lithograph, 30/50, State I
- Gift of Arnold and Elaine Horwitch. 1980.26.2
-
- Scholder brought attention to Native American cultures
of the twentieth century by addressing prevalent stereotypes, symbols,
and myths. One of these ideas was of a Native American on a horse. Artistically
trained, he occasionally incorporated recognizable elements by other artists
into his work.
- Frederic Remington (1861-1909), one of the most prominent
artists that focused on art of the American West, conveyed Native Americans
in his paintings but prided on his representations of horses. In fact,
he wanted his epitaph (gravestone inscription) to read, "He knew the
horse." Scholder took the symbol of the Native American on horseback
and one of Remington's images and integrated modern elements of color and
form.
-
-
- Olaf Wieghorst
- American (U.S.), b. Denmark, 1899-1988
- The Night Riders, 1961
- oil on canvas
- Gift of Mr. and Mrs. John K. Goodman. 1981.37.1
-
-
- Hal Empie
- American (U.S.), 1909-2002
- Cool, Clear Water, 1981
- oil on board
- Gift of Ruth Ann and Peter Groves; Gift of Hal and Louise
Empie. 1981.35.2
-
- The cowboy and horse are not always depicted by artists
in action-oriented scenes. The quiet, restful moments can be just as powerful,
as seen in Empie's painting. This Arizona pharmacist, historian, and artist
used the large tree as the central part of the scene. However, the small
portion of bright yellow paint from the coat on the saddle brings attention
to the horse.
-
-
- Ray Strang
- American (U.S.), 1893-1954
- Colt Studies
- pencil and ink on paper
- Gift of Mr. Herbert D. Schutz. 1981.43.1
-
- Strang, an accomplished illustrator, drew studies to
continuously learn and remain familiar with themes of the West. Horses,
for instance, have unique body structures which an artist must be keenly
aware if he or she wants to depict them realistically. He roughly sketched
these forms to be used for future reference.
-
-
- William Robinson Leigh
- American (U.S.), 1866-1955
- The Rampage, 1953
- oil on canvas
- Bequest of Ileen B. and Samuel J. Campbell. 1982.1.14
-
-
- Grant Speed
- American (U.S.), b. 1935
- Quick Tied by the Texas Ranger, 1975
- bronze
- Bequest of Ileen B. and Samuel J. Campbell. 1982.1.16
-
-
- Olaf Wieghorst
- American (U.S.), b. Denmark, 1899-1988
- Cowboy Resting, 1965
- bronze, 4/20
- Bequest of Ileen B. and Samuel J. Campbell. 1982.1.29
-
- Wieghorst reaffirms the relationship of man and horse.
He shows domination and independence, control and freedom in his rendition
of a resting horse and cowboy. This work indicates the endless appeal of
a much-loved subject.
-
-
- Olaf Wieghorst
- American (U.S.), b. Denmark, 1899-1988
- Night Hawk, 1971
- oil on canvas
- Gift of Robert Q. Sutherland. 1982.20.1
-
- Wieghorst featured a night hawk rider, one who protects
the cattle herd at night, constantly watching for potential predators.
The rider in this nocturne, or night scene, presides over his evening environment.
The artist used mostly shades of green and blue to depict the effect of
darkness and moonlight.
-
-
- Paul Dyck
- American (U.S.), 1917-2006
- Tipi Horses, 1963
- oil on Masonite
- Gift of Mrs. Frederic O. Hess. 1985.5.1
-
- Devoted to the lives, history, and imagery of Native
Americans, Dyck lived among several tribes and gained first-hand knowledge
of these cultures throughout the twentieth century. He applied his knowledge
of fourteenth century painting techniques and used egg tempera and oil
glazes for desired effect. Dyck found inspiration by looking at depictions
of horses in hide paintings or ledger drawings of Native American peoples.
-
-
- Edward Borein
- American (U.S.), 1872-1945
- Running Wild Horses
- drypoint etching
- Gift of Mr. and Mrs. John M. Mitchell. 1985.6.4
-
- Looking at ancient times through today, imagery of man
on horseback is interpreted as powerful and manly. From depictions of Alexander
the Great to the iconic, rugged cowboy of the past century, these figures
utilize those features. Though not regarded as king or leader, Borein's
lines of the horse as well as the posture of the rider perpetuate the commanding
nature of this subject.
-
-
- Oscar E. Berninghaus
- American (U.S.), 1874-1960
- Team of Horses
- pencil on paper
- Gift of Mr. and Mrs. John M. Mitchell. 1985.6.5
-
- Best known as a member of the Taos Society of Artists,
Berninghaus looked at the Southwest with a keen eye for elements of detail,
shape, and color. This image of a pair of horses evidences the artist's
focus on the horse on the left and its gear. It can be a challenge for
artists to render horses because of their unique body forms, but another
degree of difficulty is added with the placement of the harnesses, bridles,
and bits.
-
- The transportation of people and goods occurred for centuries
via horses pulling carriages, wagons, and carts. In the West, wagon trains
and Conestoga wagons moved across the plains and mountains for trade and
settlement. Berninghaus traveled via train, and significantly, Overland
trails so he was exposed to horse travel.
-
-
- George Carlson
- American (U.S.), b. 1940
- Baron, 1990
- bronze
- Gift of Bob and Erin Vaughn in memory of Eleanor Gustavson.
1991.243
-
- A sculptor and painter, Carlson devotes much of his time
to equine, or horse, sculpture. Attracted to draft horses particularly,
the artist once said, "I like their volume and weight and mass."
The subject of a solitary horse can stand as a powerful symbol. Its head,
positioned upright and facing forward, conveys the artist's intent to concentrate
on the overall form of the figure. The thicker legs, neck, and body of
this Clydesdale horse, along with the expressive texture that Carlson applied,
all contribute to the overall feel of this bronze.
-
-
- Suzanne Baker
- American (U.S.), b. 1939
- John and Mr. B., 1992
- acrylic on canvas
- Virginia Johnson Fund. 1993.31
-
- With a keen fascination for horses as a young child,
Baker incorporates them in most of her western themed paintings. In her
teenage years to young 20s, she worked as a packer and guide as well as
studied animal sciences in college. Her family has since then lived on
a ranch, adding to her personal knowledge of these animals.
-
-
- Richard Thorpe McLean
- American (U.S.), b. 1934
- Banana Beau, 1980
- serigraph, 211/250
- Gift of Sarah Schuster. 1995.233
-
- Though considering himself a still-life painter, McLean's
most popular theme are realistic horses and their riders. Basing many of
his images from horse magazines, whether of racehorses and jockeys, horses
on a farm, or military horses, the artist's work has hyper- realistic,
photographic qualities.
-
-
- Richard Thorpe McLean
- American (U.S.), b. 1934
- Lucky Penny, 1980
- serigraph, AP
- Gift of Sarah Schuster. 1995.234
-
-
- Richard Thorpe McLean
- American (U.S.), b. 1934
- Jack Magilus, 1980
- serigraph, 221/250
- Gift of Sarah Schuster. 1995.235
-
-
- John Fawcett
- American (U.S.), b. 1952
- Hits and Misses, 2000
- watercolor
- Gift of John and Elizabeth Fawcett. 2000.59.1
-
- At a young age, Fawcett's passion for horses was apparent.
He kept horses near his Cedar Rapids, Iowa home, and did some informal
artwork as a student. However, in college he studied and eventually held
a 20-year veterinary career treating equine and small animals. After this
he returned to art full-time. The artist stated his attraction to the fluidity
and softness of watercolor as a medium, noticeably seen in Hits and
Misses.
-
-
- Paul Brach
- American (U.S.), 1924-2007
- Last Light, 1984
- oil on canvas
- Acquired with funds provided by Ben Heller. 2001.40.1
-
- Brach, though born in Brooklyn, NY, wanted to either
become and artist or ride horses. In fact, for several summers he worked
on a ranch in Arizona during his teenage years. In the art world he is
mostly remembered for his contributions to modern and contemporary art,
but in the 1970s and 1980s he also produced Western landscapes featuring
horses. On the top and bottom border of Last Light the artist painted
simplified patterns which echo those found in textiles of the Southwest
region. The horses galloping freely are very simplified and small within
the large canvas.
-
-
- Richard Misrach
- American (U.S.), b. 1949
- Dead Animals #327, 1987
- color photograph, 1/10
- Gift of Cita Scott and Harry George. 2007.23.1
-
- A print from the "Desert Cantos" series, a
body of work which Misrach devoted himself for 30 years, this image of
a dead horse buried in the desert strikes an emotional chord. The practice
of mass burial pits in the West, most prevalently as a result of atomic
tests, Misrach comments on the contamination of the natural environment.
-
-
- Jaune Quick-to-See Smith
- Flathead Salish, American (U.S,) b. 1940
- Untitled (from the "Kalispell Series")
- pastel
- Gift of Eleanor Caldwell. 2008.19.1
-
- Horses are an integral part of Smith's work and culture.
She integrates connections between Native American histories and tribal
stories with today's world. The horse depicted in this pastel is simplified
and basic, but she uses the horse as an image among other noticeable icons
with their own meanings: celestial bodies, spiritual figures, bold shapes,
and patterns.
-
-
- Ross Stefan
- American (U.S.), 1934-1999
- Sixteen Miles to Shonto, 1969
- oil on canvas
- Gift of Mrs. William A. Small, Jr. 2008. 20.1
-
-
- Frank O. King
- American (U.S.), 1883 - 1969
- Untitled (Stagecoach)
- pen and ink
- Gift from the Bernard and Jeanette Schmidt Estate, 2012.
2013.5.10
-
- The mythic "Wild West" often includes images
like this, where a stagecoach rides across the desert and men shoot their
guns into the air. A cartoonist, King approached the West in a fun and
humorous manner. Best known for his contribution to the comic strip Gasoline
Alley in the mid-twentieth century, he had interests in other topics,
including the West.
-
-
- Lon Megargee
- American (U.S.), 1883-1960
- Wild Horse Race
- woodblock print
- Gift from the Bernard and Jeanette Schmidt Estate, 2012.
2013.5.11
-
- Megargee evokes the spirit of a wild horse race with
the sweeping, curved lines and stark color contrast. He utilized the concept
of using positive and negative space in this woodblock print. In a sense,
using negative space creates a visual effect that tricks the eye to see
an image. Here, there are horses and cowboys full of action and excitement.
-
-
- Howard Post
- American (U.S.), b. 1948
- Three Crossing, 2013
- oil on canvas
- Gift of James and Louise Glasser. 2014.1.1
-
- Post, a resident of Arizona, paints the ranches, cowboys,
and pastoral scenes in which he has been familiar all his life. He limits
his palette to about six colors and bases his compositions off of photographs,
personal experience, and imagination. Three Crossing is a serene
scene, blending the artist's knowledge of horses with open spaces; two
of his favorite subjects.
-
-
- Frederick Hambly
- American (U.S.), b. 1937
- El Fuente, 1988
- graphite
- In Memory of Frank Tornabene. 2014.3.2
-
- The partnership between the horse and rider is an essential
component to the success of the cowboy's livelihood. El Fuente,
the fountain, which is found on the bottom right, plays a major element
to the story but is a small part of the composition. The cowboy's care
for his horse by feeding it water from his hat shows the enduring friendship
between them.
-
-
- Maynard Dixon
- American (U.S.), 1875-1946
- The News, 1918
- watercolor
- Private Collection.
-
-
- Nez Perce (Nimíipu)
- Floral Beaded Gloves, c. 1910-1920
- leather, glass beads, metal beads, fabric, cotton thread
- On loan from The Arizona State Museum, The University
of Arizona. Catalog # E-6340
-
-
- Plains Region (possibly Cheyenne)
- Beaded Pictorial Vest, c. 1920
- leather, glass beads, cotton thread, sinew
- On loan from The Arizona State Museum, The University
of Arizona. Catalog # E-2214
-