Tag Archives: dressage

Conversano Marina, Lipizzan Stallion

conversano-marina-lipizzanTracy wrote that she had a Lipizzan stallion, Conversano Marina, that would be perfect to include in the Beautiful Horses of Michigan project. She said:

“‘The little stallion’ (as I have come to call him) has been wonderful to train and I am looking forward to our future together. He is teaching me to give my heart to my horses again after losing my FEI Dressage horse last year.”

When I met Conversano Marina, I was mesmerized by the lovely pastel pink, orange, blue and lavender colors that formed intricate patterns on his beautiful face. Oh, I could hardly wait to start painting! Tracy said as Conversano Marina matured the colors would become even more defined! Wow, that’s hard to image!

This painting was finished at least three times. What does that mean, you might ask. Well, when I complete a painting I move it from the studio to our family room where I can look at casually for a few days — just to be sure I’m satisfied with it. Well at first I liked the painting. I even photographed it to post online. But then …. no…. Back it went to the studio for more work. I could clearly remember the feeling I had when I looked at Conversano Marina, and the painting was just not right. I had to capture those amazing colors.

After more painting — and again photographing the piece — Nope — I still wasn’t happy.

After another trip back to my studio and some intensive work, finally I felt that I’d captured the beautiful hues that impressed me so! Of course, a tiny photo online is never as good as the real thing. You really need to see the painting - or the horse :-) in person to appreciate these colors!

While talking with Tracy, I discovered that her father, James P. Rowe, was very much responsible for introducing Dressage to the northern half of the United States. He taught haute ecole or “Airs above the ground” and trained some great riders, including Tracy! Here’s a link, so you can read more about the stable’s fascinating history: http://www.rowestables.com/new-aboutus.html

This painting is part of my “Beautiful Horses of Michigan” series. All the paintings completed in the series so far are online at www.karenbrenner.com/beautiful_horses_of_michigan_gallery.html.

[Photos are posted at www.karenbrenner.com/blog.html]

©Copyright 2008 by Karen Brenner. See original post here.
To learn more about this artist, visit Karen Brenner’s website.

Amateur hour

Close-up photo of a dressage horse copyright Judy Wood, all rights reserved.

Polo crowd copyright Judy Wood, all rights reserved.

Photograph of a hawk in flight copyright Judy Wood, all rights reserved.

Photograph of polo players. Copyright Judy Wood, all rights reserved.

Well, what a nice weekend. Mostly I write about the weekend just past on my Monday posts because I can’t remember any farther back than the last couple of days. Sad, I know, but there you have it.

The weekend was notable for featuring perfect mid-August weather of the sort we don’t actually often *get* in mid-August. Doubly odd since there were not one but two horse events for me to photograph, and that’s usually the signal for the weather gods to come up with something extreme and unpleasant for at least one of the days. There weren’t even any bugs to speak of, passing strange all around. It was a tad warm from the point of view of the horses who were exerting themselves, no doubt, and their equally hard-working riders (and you non-riders out there, don’t ever kid yourselves that riders aren’t working darn hard when they’re up top and schooling or competing) but all in all pretty acceptable.

The events I attended were a dressage show at my home barn of Ebon Stables, and a couple of polo games (Saskatoon vs Edmonton) over in the polo field at Willow Ridge Stables. I had to do a bit of scuttling back and forth both days but managed to get my shots at both locations. Throw in going from one barn to the other “the long way” via my house in the city, in order to let the dogs out at intervals, and that was pretty well my weekend.

Husband Jim was inconsiderate enough to scoot off to the lake cottage for the weekend with the other local family members, so I was on the hook for the boys. My part of that conversation went something like “what do you *mean* you’re going to the lake for the weekend? I need you to stay home and let the dogs out!” Shows how much influence I have, but it was an admittedly unreasonable request. Of course the dogs can’t actually *go* to the lake because they (well, Mickey) don’t get along with one of my daughter’s dogs. Also I know they’d behave like barbarians anyway and things are already going south at that lake with breed restrictions, so best we just keep them out of the mix.

With the Olympics just winding up on the weekend, I got to thinking about the nature of true “amateurism” in the original sense of the word, that of doing something seriously and well for the pure love of it.  That meaning has become a bit skewed both in the contemporary world, where it has taken on a bit of a pejorative meaning, and also in the Olympics themselves, which seem increasingly dominated by politics and financial concerns.

To me, the events I photographed this weekend were of the true “amateur” sort. Dressage is a hard sell in this area, and it’s definitely not done around here for the glory or the money. I have literally been at a dressage show (years ago when I first started riding) where my friend Hannelore brought homemade cookies in a tin, gave one to every member of the viewing audience, and still had some cookies left over for the competitors. And that was a quite well attended show compared to some of the ones we’ve seen in recent years. Same thing would have held true for both events this weekend. Hannelore’s cookie tin might well have had enough cookies for the dressage audience *and* those viewing the polo.

So for the competitors in both these events, it’s about the love of what they do, about competing (against another team in the case of polo, and against a scorecard and an impossible “ideal” ride in the case of dressage), and about working with love, dedication, and ideally, joy. The fact that it’s done with horses in both cases makes the undertaking all the sweeter.

My first photo today is a close crop of one of the dressage horses. This was a lovely boy, nicely ridden by his skilled owner. I love the look of calm intelligence in his eye.

Shot number two is what greeted me as I pulled up to the polo field on Sunday morning. The “crowd” was enjoying a visit and cup of coffee prior to the start of the game. Once the game got underway they relocated to the stands just visible on the right, and were joined by about five or six others. Luckily for us, one of the “others” was the husband of a player on the Saskatoon team, and he was a wonderful and greatly appreciated source of a lot of information on the intricacies of the game, which was good since the rest of us didn’t have much of a clue what we were watching. We just knew it was exciting, and I know a good photo op when I see one!

Third shot is one of the other “audience” members for the polo, keeping track of the game from a different vantage. These hawks have nested nearby, and the two teenagers were out for flying lessons with the folks over the polo field before the game both days.

Shot number four shows some of the action in the Sunday game. Saskatoon team wearing the black jersey, Edmonton in the white.

This past weekend was the end of the show season at Ebon, so things will slow down for my photo life on that front, but I’m looking forward to a few days with the camera at Spruce Meadows for the big show there in early September, and to getting lots of fall colour shots as the season advances. Somehow there never seems to be a shortage of things for me to want to photograph!

©Copyright 2008 by Judy Wood. See original post here.
To learn more about this artist, visit Judy Wood’s website.

Watercolor Canvas

Painting of a dressage horse on Fredrix watercolor canvas copyright Deborah O'Sullivan, all rights reserved.
It has been a while since my last post but I have been BUSY! This latest piece that I have been working on has been so interesting. I did this on Fredrix watercolor canvas and I have to say I had a love/hate thing going on with this support. It definitely requires a different technique but I played around and ended up with this, as yet, untitled painting. Names please!!! I ended up really enjoying working with this support. This measures 16 x 12 and is watercolor on canvas. I’ll be varnishing it tonight and it will be available for purchase on my website.

©Copyright 2008 by Deborah O’Sullivan. See original post here.
To learn more about this artist, visit Deborah O’Sullivan’s website.

The Judge Day 8–reworked layout

here is the reworked to the grid painting…I will look at this for awhile (not too long because I am running out of time before my move) and decide if this will work out.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

The Judge Day 7–reworked layout

Painting in progress of a cat and a horse in Hawaii. Copyright Christine Collier-Trevino.

I will not surrender! So today I sat with PS and reworked my compostion using the rules that Michelle Grant offered to me. Once I am satisfied, I will start painting over again.
The picture has lots of artifacts in it from the layers in PS, so just ignore those.
I hope that I am understandiing the motivations that she discussed. I made the foreground large, the background medium, and the middle ground small. I divided the area into the 1/3rds grid and moved important elements around to the intersections.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

The Judge Day 7–Verdict

I asked an artist, whom I greatly admire, to help me figure out why this piece kept bothering me.
Michelle Grant ( http://michellegrant.ca Canadian–which I don’t hold against her ;)…) showed me how the layout was weak, but then gave me two great planning tools that I can use not just to ‘fix’ this piece, but carry forward to future pieces.
the pictures here show my piece grided with the 1/3rds composition rule and how the key elements don’t line up with any of the intersections. The second image shows my piece cropped so that the key elements hit right on the intersections.
In addition, when planning a piece Michelle states, :The motive involves the division of space beyond the 1/3 rules. You decide which part of the space is going to be largest, and then the smallest, and then one will be the middle size. Here is a grid to hopefully clarify this theory.COLUMN #1 BACKGROUND MIDDLE GROUND FOREGROUND COLUMN #2SMALLMEDIUMLARGEYou take an element from Column #1, starting with your “BACKGROUND” for instance. You then decide which size it will be by choosing one of the sizes from Column #2. The Background could be Small, Medium or Large, but for clarity sake, I’ll say the Backgroung will be Small.Then you decide on your Middle Ground, with a choice of Medium or Large, and I will say the I want it to be Medium in size. That now leaves the Foreground to be Large in size in relation to the other areas of the painting. The easiest way to decide this is to write out the Six Elements on a piece of paper into the two columns and draw a line across from Column #1 to Column #2, and none of the Grounds will be the same in size…”
Which makes sense…..so anyway, I am not going to crop this piece down because eliminating the top and the right elements does not appeal to me. But I will re-do this idea and lay it down right before putting any paint on it.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

The Judge Day 6–stoopid tree!

Painting in progress of a cat and dressage horse rider. Copyright Christine Collier-Trevino.

I think I am just going to take that damn tree out of there!

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

The Judge - Day 6

I did throw some paint at it last night and I think the reason that the palm shadows bother me is because they don’t match the mountain shadow—doh!
So I will change the palm shadows, much easier!
Have to work more form and shadows into the plants under the cat, too.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

The Judge - day 5 - thinking

well, I moved on to another painting that has been sitting for awhile so that I could think about this one. I need to put some warm reflective lighting on the shadow side of the cat, it is too jarring the way it is.other than that, I am not sure what else to do right now…..model the cat some more….put in the fence (but that is a last thing)…
hmm hmm hmm
the middle ground is blah, need to make it look like ground and grass and sand
the palm shadows bother me a bit, but that may just be from the blandness of the ground
need to work on that tree some more, the branches are still not right
ugh….have I mentioned that I don’t like doing landscapes? but! this piece is for me, it is a memory piece of my wonderful time here in Hawaii, so I will persevere!

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

thinking about the colors

I need to tone that barn down so I have been thinking about it and consulting my great little color mixing book, The Watercolor Painters Pocket Palette, by Moira Clinch.
I think that a glaze with yellow ochre will give it the temperature that I need. Then burnt umber glaze for the shadowy sections of the siding.
The palms are coming in nicely but the umbrella shaped tree (not sure what it is exactly…I will look it up in Google) is too one dimensional. I need some sky holes in it and more shadows. The branches need to go back away from the front plane of the tree too. everything is all on one plane.
The riding arena has a good start, and it looks just like it feels when you are out there: hot!
I noticed that subconsciously I have made the painting in two halves of bright light and subdued light. I will have to think about this development and decide if I need to change it or let it stay that way. I think since the painting is very horizontally banded, that my intuition took over and did that to balance it.
I will leave the cat really until last because otherwise it will distract me from the environment that shapes it/him/her.
I am also going to leave the fence along the long backside of the arena for last because I will put it in and then not disturb it.
So this is really how I work; lots and lots of thinking, some actual painting, more thinking,…
kind of boring, huh?

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

today’s work on the judge

I am happy with what got done today. I am taking a break and then going back to it.
I find that I work the whole panel at once with this piece. As opposed to the panel that I did for Le Cadeau du Cheval, I worked in sections.
I think that as I get more paint onto the surface that I will probably do it sectionally. Right now, I am trying to keep the whole united in temperature and color range.
Dropping in the first indications of shadows makes a big impact.
I am also happier with this cat’s body shape than I had previously.
I have to flog myself to work on the foliage under the cat. It just is such a chore. I am happy with how the background is falling into place.
As always, this artwork is copyrighted to the artist only. NO COPYS.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

noticing a bit of anatomy lately

Since I have been working harder on my riding than my painting, I will share that I have been noticing the anatomical connection of the horse’s head to neck right behind the ears. It is very flat and square shaped when you sit in the saddle and look at it. The bridle sits into it quite nicely.
The other thing that I have noticed, and this is very different between my two horses, is the flexion of that area when they graze.
My gelding, the Grand Prix level horse, has tremendous flexability there. My mare not as much. This probably is also from the conformation of their necks. His is longer and he has a nice wide jaw for the throat to fit into. Her neck is shorter and thicker, not very pretty at all. But the dressage training will help that. I wonder if she will be willing to put up with the slight discomfort of giving more and more behind the jaw as we move up the levels. It was difficult for my gelding.
I digress…..what I noticed is how he has more flexion forward when he grazes and hers follows the topline of her neck more closely.
Both things will now be incorporated into my artwork.

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

Distracted from the Judge

<WARNING: WHINING ABOUT TO BEGIN IN ….5…..4….3….2….1….
bleah it has been so hot and still, I just could not sit by the window and paint. the last time I tried my arm kept sticking to things……my knee has been bothering me and it really hurts to sit or be otherthan horizontal for any length of time….I am getting ready to move again and that planning has distracted me…..I had to organize a dressage clinic…..I had to ride…..I am at a phase where I am afraid of “ruining” the painting because it is soooo darn precious…….END OF WHINING>>>

So the main thing is that I need to just lay some paint down. You would think that at this stage of my life that big fear block would have gone away. Nope, it doesn’t. And it is a factor that seems to affect most artists that I know (well, some I only know from online comm, but all the same). The really successful artists are the ones who soldier through with the confident knowledge that they will produce good artwork no matter what.
My hero, Bob Clark, has a routine that he follows and it gets him down to work quickly and focused like a laser beam. You can see his work at www.robertclark.com
So heigh-ho, heigh-ho back to work I need to go!

oh, ps–this arts & crafts, craftsman style of painting is not written about much. I went to the bookstore and online to try and find source materials but in the end only found one book (magnificent, beautiful, $50, walk away-walk away) that was worth having. I will buy it after I am moved and settled. So now I am thinking; hmmmm maybe I should put a book together! Now there is an audacious idea! One for my retirement days I think!

©Copyright 2008 by Christine Collier-Trevino. See original post here.
To learn more about this artist, visit Christine Collier-Trevino’s website.

More about the World Famous Lipizzaner Stallions


Promotional video about the World Famous Lipizzan Stallions.

After finishing my Le Cadeau du Cheval mural mosaic panel, I’m ready to paint some more Lipizzans. I had a lot of fun taking photos of The World Famous Lipizzaner Stallions (plus one Andalusian) last Spring. Between my husband and I, we took over 500 shots, and almost every one could be used as reference for a painting. Here are some of my favorites:

Lipizzan from the World Famous Lipizzan Stallions
I think this is the same horse I painted for the Le Cadeau du Cheval mural mosaic. Isn’t he gorgeous?

Lipizzan from the World Famous Lipizzaner Stallions tour.
I have a thing for boots and butts. This shows how close we were seated to the horses.

World Famous Lipizzaner Stallions 2008
The Grand Quadrille.

Lipizzan stallion performing the levade. Ridden by Victor Pozzo.
The levade with rider Victor Pozzo.

Capriole!
Capriole!

Andalusian horse performing with the World Famous Lipizzaner Stallions
Dancing to the big band beat of Benny Goodman’s“Sing, Sing, Sing” with partner Victor Pozzo, the head rider for the show.

Andalusian kneeling.
Taking a bow.

If you get a chance, go out and see these horses! The World Famous Lipizzaner Stallions tour the US and Canada regularly. If you’re an artist or photographer, rejoice, because they welcome still cameras and even flash. (Individual venues might have different rules, so check with them first.) There’s inexpensive seating available on the floor, so close to the horses you’ll get covered in horse spit. One thing I loved about this show was how the female riders didn’t suppress the huge smiles on their faces as they rode. You could tell they were having the times of their lives (as they should, riding Lipizzan stallions and wearing really cool boots), and it made me smile to see their joy.

Also located in the US are Herrmann’s Original Royal Lipizzans from Myakka City, Florida, and the Tempel Lipizzans of Wadsworth, Illinois. Check their websites for appearance schedules.

If you want to see the horses that started it all, it’s possible that the original Lipizzans from the Spanish Riding School in Austria might return to the eastern US for a very rare appearance in 2010!

My Signature
©Copyright 2008 by Tami O. See original post here.
To learn more about this artist, visit Tami O’s website.

Le Cadeau du Cheval “The Horse Gift” Finished!

Le Cadeau du Cheval \
Le Cadeau du Cheval mural mosaic panel complete.

My Le Cadeau du Cheval mural mosaic panel is finished, but not without a major disaster! And it was going so well up until a few days ago…

When I paint something fussy like this in acrylics, I use isolation layers. What that means is that I seal the paint with a clear acrylic fluid every so often so any mistakes I make on top of that layer can be “erased. ” Acrylics dry fast and aren’t really erasable, but when dry they can be dissolved with rubbing alcohol. The problem is, without an isoloation layer, the paint will dissolve all the way to the support and lift off, leaving nothing but a gaping white hole.  The good news is that an isolation layer isn’t dissolved by alcohol. If I make a mistake, all I have to do is scrub some rubbing alcohol on it and wipe it off with a paper towel, leaving the paint under the isolation layer intact. It’s like having one level of “undo” while painting.

Well, after several isolation layers, the paint had gotten far too glossy, and I was afraid there’d be so much glare that no one would be able to see it in the mural. So the plan was to take down the gloss at the end with some spray-on matte varnish.

Usually that works great, but this time it went horribly wrong. Maybe it was the humidity that day. The spray went on like white powder, obscuring all the nice dark areas in the painting. Yuck! Immediately I ran to computer to pull up the the Golden site for advice. Unfortunately the answer was to consult with a professional conservator (not an option), but it did say that mineral spirits would dissolve the varnish. That’s not good news for me, with my intolerance of all solvents, but I dove in with a lint-free rag anyway. I’ll be paying for that for a few days. The varnish came off, but left cloudy swirls and puckered paint in some areas. Oh, $#!+!!!

So I let it dry thoroughly, sanded down the puckered paint, repainted those areas, then applied a couple of layers of acrylic varnish to get rid of the white swirls and sanding marks. The painting is too shiny once again, but it’s better than the cloudy mess it was before. Unfortunately, lots of detail got foggy in the process, and some contrast was lost. With the mural deadline looming, there wasn’t time to redo it all. I wish I had six levels of undo instead of just one, because I’d undo this painting all the way back to the beginning of last week if I could.

For better or worse, it’s done. This was a good challenge for me, trying to make someone else’s colors and pattern fit into my own style. The hardest part (other than dealing with rogue varnish) was creating the warm light/cool shadow pattern on a horse I photographed in full light. That’s a lot harder than it looks, and it took a few adjustments to get it to read right.

Le Cadeau du Cheval mural mosaic panel, before and after.
Before and after. In the mural, this will be the horse’s upper front leg.

Thanks again to the Mural Mosaic creators Lewis Lavoie, Phil Alain, and Paul Lavoie. These guys have been great to work with. They couldn’t have made it any easier or more fun for the participants.

Keep an eye on the Le Cadeau du Cheval “The Horse Gift” website as more panels are added leading up to the grand unveiling at Spruce Meadows in early September. Can you see the master image yet?

My Signature
©Copyright 2008 by Tami O. See original post here.
To learn more about this artist, visit Tami O’s website.

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