Showing posts with label ink. Show all posts
Showing posts with label ink. Show all posts

Monday, September 12, 2011

Australian Horses Series no. 2: Colonial Arabian

I did mean to write this post a little earlier, but was interrupted by the arrival of our beautiful little boy, Will. He decided to give us a scare and stayed in the hospital in intensive care for a week, but is now very well. My first question for the physio - how long can you ride after an episiotomy?  They looked a bit surprised that I would even be daydreaming about something so uncomfortable ...

‘Colonial Arabian’ describes those Arabians (mostly Crabbet bloodlines) sent to the colonies. Some of these bloodlines are still bred today. The Australian colonial Arabian is very tough and well-suited to endurance. They should have good solid bone and their beauty is on the elegant and tough side rather than the hyper-pretty (in my opinion!). To use an Americanism, they are very far from being all hat and no cattle. The first Arabians arrived in Australia very early, along with the first European settlers and are beautifully suited to the hot Australian conditions and our love of riding out in the bush. I always love to be handed the reins of an Arabian type on a long trail ride – you are pretty much guaranteed a smooth, responsive, untiring ride, and they might like to go googly-eyed at things from time to time – but that just adds to the spirit!

I always loved seeing photos of the stallion Fenwick Phantom as a teenager and he’s what I picture when I think of an Australian Arabian type. Check out those clean, powerful legs!



Thursday, September 1, 2011

Australian Horses Series no. 1: The Waler


For a long time I’ve been meaning to do a series of paintings honouring Australian horses (both ‘types’ and breeds).

Thanks to the Morpurgo book War Horse and the stage adaptation and now film adaptation, the war horse is taking centre stage at the moment. Although many types of horse fitting cavalry specifications for height and colouration were sent over from Australia during the First World War (and to also to India), the dominant type became known as the ‘Waler’ (the original stock came from New South Wales). 
'Waler' permanent artist's ink on watercolour paper

Much like the Australian Stockhorse (which it had a large influence on) the Waler was a mixture of Thoroughbred, Arab and draught breeds, resulting in a very tough and reliable horse, much as the stock horse is described in Patterson’s Man from Snowy River:

And one was there, a stripling on a small and weedy beast / He was something like a racehorse undersized / With a touch of Timor pony - three parts thoroughbred at least - And such as are by mountain horsemen prized. / He was hard and tough and wiry - just the sort that won't say die / There was courage in his quick impatient tread / And he bore the badge of gameness in his bright and fiery eye/ And the proud and lofty carriage of his head.

An English cavalry officer described the Australian horses’ suitability for harsh conditions:
“… The majority of horses in the Corps were Walers and there is no doubt that these hardy Australian horses make the finest cavalry mounts in the world…. They have got types of compact, well-built, saddle and harness horses that no other part of the world can show. Rather on the light side according to our ideas, but hard as nails and with beautiful clean legs and feet ... Their records in this war place them far above the Cavalry horse of any other nation.”
Lt Col RMP Preston DSO, The Desert Mounted Corps

The Charge of the Light Horse at Beersheba, George Lambert
Beersheba (1917) was probably one of the most famous moments for the Australian cavalry. After going for days without water through the Sinai Desert, the Australian Light Horse charged the Turkish guns at a lengthy gallop and successfully took Beersheba (and its essential water supplies). It was one of the last great cavalry charges as increasingly mechanised forms of warfare saw the increasing (fortunate) removal of horses from the front line of battle.

Sadly, despite their impressive service, no adequate provision was made for the return of the Australian or British horses to their country of origin. Many heartbroken soldiers were forced to abandon their horses, or to shoot them (amidst fears they would be mistreated).
Australian troop horse, full marching order 1918, George Lambert

In 1931, Dorothy Brooke (the wife of an English cavalry officer) wrote an appeal to the Morning Post regarding British cavalry mounts:

“There have been several references lately in the columns of The Morning Post as to the possibility of raising a memorial to horses killed in the War. May I make a suggestion?

Out here, in Egypt, there are still many hundreds of old Army Horses sold of necessity at the cessation of the War. They are all over twenty years of age by now, and to say that the majority of them have fallen on hard times is to express it very mildly … If those who truly love horses – who realise what it can mean to be very old, very hungry and thirsty, and very tired, in a country where hard, ceaseless work has to be done in great heat – will send contributions to help in giving a merciful end to our poor old war heroes, we shall be extremely grateful; and we venture to think that, in many ways, this may be as fitting (though unspectacular) part of a War Memorial as any other that could be devised.”

Her appeal soon raised enough funds to rescue five thousand horses and gave rise to The Brooke, a charity still providing welfare support for working donkeys, horses and mules whose owners often cannot afford to treat them.

Given that Australian cavalry mounts did not return to their country, the breeding of Waler horses has relied on the use of the original stock that remained in Australia. Waler horse breeders seek to preserve the tough and reliable characteristics of those famous Australian cavalry horses.

Speaking of tough, next week (my imminent baby allowing) will be no. 2 in the Australian Horses Series – the Colonial Arabian.


Read about The Brooke:
The Desert Mounted Corps quote accessed at:
Waler Horse Society of Australia: http://www.walerhorse.com/whsa/
The Waler Horse Owners & Breeders Association Australia: http://walerhorses.com/

Saturday, December 18, 2010

arabian head study in ink

An ink painting of an Arabian horse. Art Spectrum Ink on watercolour paper. Through my detailed drawing practice I have improved my quick and gestural paintings. I love using rich, dark ink.

Sunday, May 23, 2010

some australian birds





Tasmanian Native Hen, Cradle Mountain


Magpie, Eltham

Liquid Spectrum ink on Blue Lake Watercolour paper.

Monday, August 10, 2009

online exhibition 1

Here is a 'wall' from my 'Balios' exhibition, for those who couldn't make it. You may have seen some of them before on this blog. I will also put up some of my coloured ink paintings this week. Wish I could offer some nibblies and a glass of champagne online too, but you will just have to imagine.

ophelia keys horse skull painting Horse Skull, ink on acid-free paper. [sold]


ophelia keys cat skull painting Cat Skull, ink on acid-free paper. [sold]

ophelia keys dressage painting Half-Pass (dressage), pencil on acid-free paper.


ophelia keys arabian horse head study Arabian Headstudy, pencil on acid-free paper. [sold]



Monday, July 6, 2009

The joy of red spots

ophelia and david keys at exhibition opening
Red spots are an artist's favourite thing! Actually, maybe second favourite. The favourite is having family and friends together and sharing your work. The photograph shows me and my grandfather, David Keys. We're discussing the merits of Liquid Spectrum Ink!

Monday, June 8, 2009

humanity

ink painting of bucking horse by ophelia keys
The worst sin towards our fellow creatures is not to hate them, but to be indifferent to them. That's the essence of inhumanity.
George Bernard Shaw

ink painting of kicking horse by ophelia keys



Wednesday, May 13, 2009

blue and red - ink horse

ink painting of horse by ophelia keysHorse in Liquid Spectrum ink on Colourfix paper. Using heaps of luscious ink and creating the suggestion of detail without actually having much detail at all! Putting ink onto ink requires that you let go of the outcome to a certain degree. Great practice for perfectionists ...

Wednesday, March 25, 2009

thoroughbred in ink

thoroughbred painting in ink by ophelia keysIn response to a question by Grey Horse Matters, I thought I should share some info on how often I sketch. While I have seen artist blogs where the artists produce a painting a day (and for those who actually do that - wow!), I find that the practicalities of a day job and fitting in horseriding, writing and friends requires me to paint in bursts.



'Works in progress' are always current works, and as soon as I do a little drawing/painting burst I will post these recent images in preference to older ones. Sometimes I look through my sketchbooks and pick out images that I want to share. This one is an older image, when I was first getting really into ink. There are things I would like to change about it, conformation-wise, but the beauty and challenge of ink is that you have to stand by what you do!

Tuesday, March 17, 2009

free jump - ink


Ink drawing from my sketchbook of a warmblood 'free jumping'. The initial drawing used Wolff's carbon pencils, which are lovely to use for dark, fine lines, rough texture or softened with water. I then used artists' pigmented ink over the top. This was quite a quick sketch.

Friday, February 6, 2009

the red bridle series


Sometimes fiction ideas begin with detailed images. These can either be imagined scenes that I seem to come into in the middle of the action, or images that come about as I draw.

Saturday, January 31, 2009

inspiration: the unicorn

ink drawing of Durer's unicornBeing a child who loved horses and mythology, I was always fascinated by images of the unicorn. My school library had a copy of the Unicorn and the Lake (Marianna Mayer, illustrated by Michael Hague), which I finally found for myself as an adult. It is illustrated with lovely watercolours, seemingly inspired by medieval images of the unicorn (such as the Lady and the Unicorn tapestry).

Later, my best friend and I watched the japanese-animated ‘The Last Unicorn’ (Rankin/Bass) over and over again. This also visually quotes medieval images of the unicorn. Apparently it was animated by artists later to join the amazing Studio Ghibli.

I also loved seeing the ‘real’ unicorns (actually Andalusians!) in Ridley Scott’s ‘Legend’. He later returned to the symbolism of the unicorn in Blade Runner, in a (cut) dream sequence and an origami reference (which doesn’t seem to make much sense without the dream sequence!).

The symbolism of the unicorn? Very complicated! Here are a few starting points from the western tradition. In the Christian context it can symbolise resurrection and immortality. Perhaps it is best known as an image of purity or love (both sacred and profane). In the Lady and the Unicorn tapestry, the unicorn is tamed only by a virginal woman. It lays it’s head upon her lap. There is an obvious sexual element here, which is difficult to interpret!

The drawing above was inspired by Durer’s unicorn – the original engraving is of a woman being abducted on a unicorn’s back. Here the unicorn appears to be an embodiment of danger and masculine lust.

In both 'Legend' and 'The Last Unicorn' (based on a Peter Beagle book), the unicorns are pure, and it is only the desire of others to touch or possess them that leads to the threat of death, animalistic sexual desire and the extinction of those values their captors most want to possess.

In the end, perhaps the wonderful thing about the unicorn is its mysterious symbolism!

When I was 16, I finally had the joy of seeing the Lady and the Unicorn tapestry in Paris at the Musee de Cluny. Really magical!

Here is an image of the Lady and the Unicorn at the Musee de Cluny
The opening sequence of The Last Unicorn
And the Legend trailer

Wednesday, January 28, 2009

blue horse


We are bracing for 43C today (109F, I think), after 42C yesterday. I'm afraid the only reason I've chosen this picture to post is because it looks a little icy.

This picture is one of a series I did after looking at Gericault and Delacroix. Both were especially gifted at portraying horses.

Tuesday, January 20, 2009

Monday, January 19, 2009

Hosing down Juno


Ink (Liquid Spectrum) on Colourfix board. My husband kindly cleaning the sweat off Juno while I put the tack away!

Saturday, January 17, 2009

inspiration - horses I know

stretching horse's legs before ridingThis is an ink (Liquid Spectrum) on Colourfix board. It's inspired by a photo my husband took of me with Helen's mare, Juno. I'm just reaching down to stretch out her front legs before riding. I've emphasised our shadows so the image is almost becoming abstract in the left corner. Some of the intensity of the blue ink has been lost in this reproduction.