i (heart) odd-toed ungulates

Celebrating Fabulous Mr. Muybridge

Our lives in the 21st century are increasingly dominated by moving images - powerful camera and editing technologies makes it possible to endlessly manipulate (speed or slow frames) and accentuate certain actions, ultimately exposing the intricate movement of everything from humingbird wings in flight to the precise tongue flicks that a cat uses to lap milk. It's easy to take the accessibility of this visual information for granted, but 150 years ago, things that moved faster than the human eye and brain could register in sequence were mysteries left to artists to interpret. 

In 1872, a popular debate arose regarding whether a running horse's feet were ever in fact all 4 off the ground (as they appeared commonly throughout Victorian horse-racing art), or whether the stride required at least one hoof on the earth at any given point. In an attempt to settle the issue with visual evidence made by a device that "couldn't lie" (the camera), former governor of California, and racehorse owner, Leland Stanford commissioned English photographer Eadweard J. Muybridge to produce proof. After much study, experimentation, and the development of new techniques involving multiple cameras and carefully placed triggers, Muybridge delivered an irrefutable answer in 1877: a single photographic negative (one in a series) of Stanford's trotting horse, Occident, clearly shows the horse "floating", not a single toe touching the ground below. Further photographic series' of Stanford's Thoroughbred, Sallie Gardner, proved that not only was there also an unsupported point in the stride of a galloping horse, but that it occurred while all 4 legs were tucked beneath the body, as opposed to stretched out front and back, as was the common artistic depiction. The success of Muybridge's efforts prompted many more studies, with many more types of animals and actions, generating hundreds of thousands of images. These experiments also resulted in the zoopraxiscope - a precursor to cinematography and the motion picture.


Today marks the 182nd anniversary of the pioneering Eadweard J. Muybridge's birth. Muybridge's work fascinated me as a teenager and prompted numerous animated animal projects using tracings of his photos, and original drawings based on the studies. As a kid enamoured with anatomy, Muybridge's massive volumes of stills exploring the various gaits of dozens of different creatures, were a goldmine of reference imagery and inspiration for me. To this day my copy of Animals In Motion remains a powerful tool for researching form and gesture... So, a proper hat tip to Mr. Muybridge, for his incredible - and prolific - contributions to early scientific imaging and the arts.

The fantastic little video above was made in conjunction with a 2010 Muybridge exhibition at the Kingston Museum. To read more, check out eye magazine's little commentary on Muybridge's role as an artist; explore social scandals and multiple name changes here; and go look something up today! - Google Doodle for the day is a lovely tribute.

Celebrate: National Day of the Horse

That's right - it's probably not on your calendar, but as of 2004, there is an official "National Day of the Horse", and that day is today, December 13th. Having grown up utterly horse-crazy (like 90% of adolescent girls) I find such a day of remembrance and appreciation very much well-deserved, and no doubt centuries overdue - human-kind simply wouldn't be where it is without the strength, speed, willingness, and impeccable grace of the horse.

The illustrations above I created in 2003 for a website devoted to the history of Frank T. Hopkins: fabled cowboy, endurance rider, and champion of the Spanish Mustang breed. While history rightly credits Spanish explorers with introducing the horse to the New World (and simultaneously forever changing Native American culture), a more accurate term for this action would be re-introduction. The evolution of the horse actually happened largely throughout the North American continent, just after the massive extinction at the end of the Cretaceous period (the one credited with wiping out our dear dinosaurian friends).

Roughly 54 million years ago, mere dog-sized Mesohippus slowly emerged from the forest and began sizing-up it's petit frame, lengthening it's limbs, eliminating most of it's toes (from 5 down to 1 per foot), and remodeling the structure of it's teeth, to handle the tough, fibrous new grasses of the expanding Great Plains. Eventually, the little woods-browser became what we know as Equus (a genus that would continue to evolve for many more millions of years) and the first horses made their way to Asia (along with various other American megafauna) via long-since-dissolved land bridges. Then, about 12,000 years ago (the end of the Pleistocene), for reasons still debated, Equus disappeared from North and South America, leaving it's Asian transplants to continue their development, and eventually intersect with the ancestors of modern humans. It would take those Spanish Conquistadores back in the late 1400s, crossing the oceans with domesticated animals in their ship's holds, to finally reintroduce the horse to it's indiginous continent of the New World.

The chart above is a visual comparison of today's Spanish Mustang next to two classic breed types: the Arabian Horse and the Quarter Horse. Compact, a touch coarse, and exhibiting a proportionately larger, more primitive head than his cousins, the Spanish Mustang reflects the same balanced but rugged anatomy that carried his ancestors through ice ages, extinctions, and much of human civilization - with strength, speed, and impeccable grace.

Here's to the one and only: the Horse.

Tiny Horses by Amy Jean Porter

Amy Jean Porter's illustration drips with a coolness that I have always lamented not being able to infuse my own art with. It lives in a contemporary, popular culture that I simply don't gravitate to when I pick up a pencil. Don't get me wrong, I like my comparatively traditional style, and I've learned over the years that attempting to make art that doesn't come naturally to you is generally a very frustrating, ultimately loosing battle (skill and mastery of technique notwithstanding)... but I love Amy's work for all the things that make it so different than my own. The fact that she uses her distinct style to depict animal subjects, and is in the middle of a massive series of small drawings and paintings titled "All Species All the Time", is just the icing on the cake (and qualifies her for a mention on this very animal-centric blog). I've selected a handful of horses here from her "Tiny Horses Say What" series - a subset of the ASAT theme.

See more of Amy's really, really fun, crazy-bright, and awesome artwork at her website: www.amyjeanporter.com

Holmedown Arizona

Holmedown Arizona, aka "Rhea", is a Highland pony - hers being one of a handful of hardy breeds native to the British Isles (she happens to live in England). Highlands come in a variety of colors, including a broad range of shades comprising my favorite equine coat color affect - dun (Rhea is a beautiful example of a yellow dun). Since dun genes dilute solid colors, they can create all kinds of lovely, soft variation and gradients in the coat; dun is also considered a very primitive equine coat trait, as evidenced by the retention of "dun factors" like dorsal stripes, zebra striping/barring on the legs, shadowing on the neck and shoulders, and an unusual effect on the forehead known as cobwebbing (I'm a wicked sucker for stripes).

The Highland pony was  originally developed in the late 1800s as a compact, all purpose workhorse for the challenging landscape and somewhat severe environment of the Scottish Highlands. In addition to farm work, one of it's trusted tasks was also to serve the unique role of deer pony on red deer "stalks". Stalking deer over the rugged Scottish hillside was much more pleasant with a vehicle for traipsing the carcass out on, and the Highland, at roughly between 13 and 14.2 sure-footed, quiet, and steady hands high, made a perfect companion for a hunter - special saddles were even developed that could both comfortably seat a hunter on the trek out, but securely strap down and distribute the weight of a full grown Cervid elaphus (Red deer are one of the largest deer species) for the march home.

Red deer culls continue to this day, for the maintenance of herd populations on many Scottish estates, and the tradition of deer ponies is still strong; technology has improved firearms, technical gear and clothing, and navigation tools, but good old fashioned ponies are still more reliable, less obtrusive and destructive (delicate pony hooves vs. ATV tires), and actually better equipped for the terrain than motorized forms of transport - they also make much better trekking companions than anything with an engine. I love to see working domesticated animals doing what they were bred for (within the realm of humane purpose or duty), and while I'm not a hunter by any stretch, there's something wildly romantic in the image of a tweed-decked man leading a stout, wooly pony through the treeless hillsides with a single stag arched over the saddle... swoon...

Below: two photos of modern deer stalks, assisted by Highland ponies, from the website of accomplished hunter and pony fancier, Heather Mitchell, aka The Frilly Ghillie (more great images can be found on her blog); and a painting titled Return from the Hill, by Richard Ansdell, 1868.
 

Must Love: Lisa's Booby Trap

Think what you will about racing horses for sport, but one thing is certain - no other athletic pursuit has quite the same tendency to consistently produce wildly compelling stories surrounding it's players. It's a hard knock life for most, a high-stakes hobby for some, and the Sport of Kings to those of us who watch vicariously every summer as beautiful people in extravagant hats, sipping tall cocktails, pile into the stands of the Kentucky Derby, betting tickets hot in their hands. I suppose there are an awful lot of intertwined lives behind every race entrant: between the owners, the trainers, the jockeys and the lithe equines, there's boundless room for sentimental drama. That said, I don't think I've ever come across a tale as good as the one playing out this summer regarding a fleet-footed filly with the word "booby" in her name.

Meet Lisa's Booby Trap: a half-blind, 3 year old, Florida-bred filly with one club foot, one flat foot, and aprevious reputation for being exceptionally slow (after working her for the first time, trainer John Tebbutt remarked, "She couldn't outrun a fat man."). Given up on by multiple consecutive owners, Lisa's Booby Trap, then unnamed, was offered last January to lifelong horseman and racetracker, Tim Snyder. Based out of the modest Finger Lakes Racetrack in upstate New York, 56 year old Snyder had no other horses of his own at the time and had only recently returned to the track, to work for Mr. Tebbutt, from a three year hiatus from all things horse, after the death of his wife left him heart-broken. He had all of $2,000 in worldly wealth (which he kept in his boot for safety) but when a longtime friend offered him the less than promising filly for $4,500, something compelled him to say yes. Not able to pay the whole sum, and without even a trailer to collect his new purchase, Snyder took a leap of faith and bought the horse, agreeing to pay back the extra $2,500 from prize money, if the horse ever won a race. And with a little special attention, the help of Snyder's keen eye for equine orthopedics, and a whole lot of love, win a race she did.

Named after his beloved late wife, Lisa, who passed away in 2003 at just 38, from ovarian cancer, Lisa's Booby Trap not only overcame the crookedness in her stride after Snyder had special shoes fit for her front feet - once on the track she showed impressive speed and great willingness to RUN. In her first race at the Finger Lakes track at the end of May she completely obliterated her competition, winning by a brilliant 173/4 lengths. In her second race she crossed the finish line with a 10 1/2-length lead... extraordinary results for a horse with no stunning pedigree, and so many physical imperfections; so great, in fact, that just before her third career start Snyder was offered a bid of $500,000 by a bloodstock agent to buy her if she won again... and she did, but Snyder kindly turned down the offer.

It was about this time - early last week - that the story of this big-hearted underdog and her hard-working, most likable owner/trainer hit the news. It would have made a great headline on it's own, but the real drama was due to the fact that Snyder had entered Lisa's Booby Trap in the August 6th Loudonville Stakes - her first "big" race, run at the prestigious Saratoga Race Course... for a purse of $70,000. She would need to beat 5 other fillies of classy Kentucky breeding in order to win the Loudonville - a prospect even admiring fans who know horse racing were reluctant to believe she could do. But once again, Lisa's Booby Trap overturned expectations - not only did she come up from dead last to streak past the two horses that had led the race from the gate, she surpassed them handily in the back stretch and roared to an effortless win by six-lengths.

In an interview after the race, Lisa's jockey for the Loudonville, Hall of Famer Kent Desormeaux, explained the special connection his mount had with her namesake: apparently, one of Lisa Snyder's last wishes before her death was to return to the world as a horse. The idea of reincarnation may be a stretch for most, but considering the circumstances here, I'd like to believe anything's possible. Snyder will likely enter Lisa in the Victory Ride Stakes race at Saratoga on August 28th - mark your calendars. And in the words of a stunned Michael O-Farrell (assistant manager at Ocala Stud, Lisa's breeder), "I'm still rooting for her. How can you not?". 


Photo above by Adam Coglianese, courtesy of Bloodhorse.com. Read the NY Times write up on Lisa's Booby Trap here, watch her terrific performance at the Loundonville here, and for a nice extended interview with Tim Snyder, check out this YouTube clip.

Merlin

Between the time I first learned to hold a pencil correctly and the day I left for college, horses were far and away my favorite subjects and I drew and painted them tirelessly. Art school encouraged/demanded me to branch out, and my professional life as an artist has since been filled with countless wonderful opportunities to turn my focus in all number of animal directions; though without question, there will always be a spacious sweet spot in my soul for equines and their reliable creative inspiration. The painting above is my first horse portrait in years, and it's been a pleasure, sweet Merlin... 

Merlin was a beloved member of the Dream Catchers therapeutic riding center in Williamsburg, Virginia. A stately Tennessee walking horse gelding - calm, willing, and ever patient - he offered special needs children the opportunity to improve their motor skills, self-esteem, and confidence, through the simple act of riding. Climbing aboard a horse is immediately empowering, and forging a working partnership with a 1,000+lb animal is a lesson in courage, subtlety, and unspoken communication. Each Dream Catchers student had a chance to literally leave their disability on the ground when they settled onto Merlin's back... a magical, awe-inspiring feat, indeed. Merlin leaves 16 gentle stablemates to carry on their proud task without him, but he will be dearly and forever missed. *More of my animal portrait work can be viewed here.

The UVM Morgan Horse Farm

Behold - one of the best views in the world: over the top of a horses ears. To be truthful, my experience with horses includes far more riding than driving, so I'm not used to seeing quite so much rump... but the path ahead in this case looked just as sweet from the seat of a carriage as it would have if I was in a saddle. This particular rear belonged to a gorgeous Morgan mare out for her afternoon paces at the UVM Morgan Horse Farm in Weybridge, VT. Somehow I managed to live in VT for some 25 years without ever visiting this little equine fancier's gem - and I literally stumbled on it (joy of joys!) last month on a quick trip through Middlebury - but what a pleasure to spend an afternoon lurking through the historic barn, admiring vintage memorabilia from the founding of the breed, and watching the few lucky staff bustle from stall to cross-ties to paddock, and around again (the farm houses anywhere from 60-80 horses {registered stallions, geldings, mares and foals} at any given time, about half of which are in training or otherwise in need of daily work - that's a lot of grooming and tack changes...). It was a thankfully quiet Tuesday and having the place nearly to myself also meant opportunities to chat with the exceedingly gracious farm director, Steve Davis, and an invitation to literally "sit in" on the driving exercise pictured above. 


Standing in front of the main barn is a handsome bronze statue of the little horse that started it all - in essence single handedly founding the Morgan breed - a muscular little stallion named Figure. Marguerite Henry fans will know Figure's story from her book, Justin Morgan Had a Horse, for everyone else... Figure, a compact dark bay, was born around the year 1793 in Springfield, Massachusetts. At about 2 years old, he was acquired by a young music teacher from Randolph, Vermont - a Mr. Justin Morgan - as payment for a family debt. While extensive research by historians and breed enthusiasts have attempted to reveal his exact birthdate and ancestry, generating a few popular theories as to the identity of his sire and dam, no conclusive records of his pedigree have actually been found. He was a small, unassuming colt, who attracted more snickers than accolades as Morgan walked him all the way home to VT, though that attention quickly changed to astonished admiration once Figure was put to work. Leased out to a local farmer, the young stallion was used to clear wood lots, pull plows and otherwise make himself useful as a beast of burden - all of which he did willingly, cheerfully, and with a surprising amount of endurance and power. It wasn't long before the townsfolk of Randolph noticed this special horse's talents and a slew of impromptu contests of strength and speed eventually proved him to be a superior all-purpose horse that could out-walk, out-trot, out-run, and out-pull just about any other that he was matched against. Up and down the state, Figure's reputation became a legend.

A series of owners over the course of his lifetime made sure that Figure (finally assuming the name "Justin Morgan's horse", after his original handler - as was common practice in the day) had ample opportunities to reproduce his fine genes; interestingly, and most beneficial to his use as a foundation horse, Figure's offspring retained an unusually high proportion of their sire's celebrated physical qualities, easily establishing the Morgan "type". Unfortunately, even after making his mark as a highly valued stud, Figure's later years were filled with just as much back-breaking labor as his youth, and while he remained sound as a senior, he became somewhat neglected after finally being retired - an untreated paddock injury from being kicked in the flank by another horse ultimately caused his death in 1821... quite a sorry, lonely ending for a proud little horse who made such an profound impact on the equine world.

The UVM Morgan Horse Farm was originally owned by one of the Morgan horse's most dedicated champions, a man by the name of Colonel Joseph Battell. Battell spent some 30 years studying and tracing pedigrees in order to better his breeding program and save the breed from decline. In 1907 Battell gifted his farm to the U.S. Government, who, for close to 50 years, bred, trained and exhibited "Government" Morgans for the general public, but also the U.S. cavalry, for which the Morgan horse was determined to be marvelously well suited. In 1951, the farm was gifted again, this time to the University of Vermont. For the last half century the breeding program there has continued the preservation and improvement of the Morgan horse, focusing on original type, and continuing the legacy of the world renowned Battell, Government, and UVM bloodlines. The Morgan is a fascinating horse, both historically, and in terms of it's contemporary profile. If I'm lucky, there's a horse somewhere in my future, and as much as I love all equines, there's something very resonant for me about this handsome, hardy, Vermont-born breed... definitely desirable enough that on my way out the door of the UVM Farm gift shop, I put $2 towards a ticket in the annual foal raffle - fingers crossed! 

Rouxby Photography

Girl acquires puppy. Puppy inspires girl. Girl picks up a camera... and Rouxby Photography is born. Roux, Rouxby's Rhodesian Ridgeback namesake, isn't a puppy anymore, but she continues to serve as able muse for the talented, self taught, Claire Bow. Admittedly, I may have some sort of subconscious bias towards creative types who also adore Ridgebacks, but canine preference aside, I love the vivid color, narrative composition, and heavy use of focus in Claire's animal photographs. It's juicy, playful work that has clearly matured over the last few years and I look forward to seeing many more chapters in the book of Rouxby.
 

Animal Stamps: Horses

Tiny art makes me happy. Stamps are a particularly fantastic form of tiny art: gorgeously rendered little compositions, elegantly framed by a perfectly perforated border, punctuated by numbers and letters, and about as utilitarian as it gets. I love the idea of a themed "set" of subjects, and the visual repetition of a full sheet. Those featuring animals of any kind are obviously of special interest to me and I can't help but collect these generally inexpensive little treasures whenever I find them.

Equine Affaire - sketchbook

I was hoping my day at the expo would yield many great opportunities to sketch... alas, a combination of less than favorable conditions kept me from being very productive, and made the sketches I did manage a bit shaky and unsatisfactory. Still, I'd say any chance to draw is worth taking, most especially if it's a chance to draw horses.