Archivo de la categoría: ANIMALES

EVIL SPELT BACKWARDS

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http://artmoscow.wordpress.com/2013/11/15/evil-spelt-backwards/

The Duck’s Alive. The Dog’s Embarrassed. The Photo’s a Classic

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What do animals get up to when we’re not looking?

Oso de peluche para colorear

ANÓNIMO. Dibujo de oso de peluche para colorear

ANÓNIMO. Dibujo de oso de peluche para colorear

Perro de Goya

Francisco de Goya. El perro. 1819-1823 Óleo sobre revoco, trasladado a lienzo. 131,5 cm × 79,3 cm Museo del Prado, Madrid, España

Francisco de Goya. El perro. 1819-1823
Óleo sobre revoco, trasladado a lienzo. 131,5 cm × 79,3 cm
Museo del Prado, Madrid, España

Una vaca de Chagall

Marc Chagall. 1946 Place of Creation: United States. oil on canvas Dimensions: 77.5 x 106 cm. Private Collection

Marc Chagall. 1946
Place of Creation: United States. oil on canvas
Dimensions: 77.5 x 106 cm. Private Collection

El Hércules de Zurbarán

Imagen

Hércules lucha contra la hidra de Lerna
Francisco de Zurbarán, 1634
Óleo sobre lienzo • Barroco
133 cm × 167 cm
Museo del Prado, Madrid,

 

Imagen

the white rabbit (Alice in wonderland)

Una vaca de Franz Marc

Artist Franz Marc (1880–1916)   Title Deutsch: Die gelbe Kuh English: The Yellow Cow Date1911 Medium	oil on canvas Dimensions	Height: 140.5 cm (55.3 in). Width: 189.2 cm (74.5 in).

Franz Marc (1880–1916). The Yellow Cow. 1911. oil on canvas
Dimensions Height: 140.5 cm (55.3 in). Width: 189.2 cm (74.5 in).

Lake in Tanzania turns animals into statues

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León de Bill Traylor

BILL TRAYLOR

BILL TRAYLOR

Europa y el toro, Guido Reni

Artist  After Guido Reni (1575–1642) Link back to Creator infobox template wikidata:Q109061 Details of artist on Google Art Project Title Europa and the Bull Object type Painting Date 	17th century Medium 	 oil on canvas Oil Dimensions 	Height: 1,152 mm (45.35 in). Width: 886 mm (34.88 in).

Guido Reni (1575–1642). Europa and the Bull. 17th century. oil on canvas. Dimensions Height: 1,152 mm (45.35 in). Width: 886 mm (34.88 in).

El poeta Ovidio escribió la siguiente descripción de la seducción de Europa por parte de Zeus:

Y poco a poco, el miedo quitado, ora sus pechos le presta
para que con su virgínea mano lo palpe, ora los cuernos, para que guirnaldas
los impidan nuevas. Se atrevió también la regia virgen,
ignorante de a quién montaba, en la espalda sentarse del toro:
cuando el dios, de la tierra y del seco litoral, insensiblemente,
las falsas plantas de sus pies a lo primero pone en las ondas;
de allí se va más lejos, y por las superficies de mitad del ponto
se lleva su botín. Se asusta ella y, arrancada a su litoral abandonado,
vuelve a él sus ojos, y con la diestra un cuerno tiene, la otra al dorso
impuesta está; trémulas ondulan con la brisa sus ropas.1

Los pintorescos detalles pertenecen a la anécdota y la fábula: en todas las representaciones, ya sea montando el toro a horcajadas, como en las pinturas de vasijas arcaicas o en el destrozado fragmento de metopa de Sición, o graciosamente sentada de lado en un mosaico del norte de África, Europa no muestra el menor miedo. Con frecuencia Europa se apacigua a sí misma tocando uno de los cuernos del toro, condescendiente.

(Fuente: http://es.wikipedia.org/wiki/Europa_%28mitolog%C3%ADa%29)

 

La rata negra y la peste

El triunfo de la muerte, (1562) Pieter Bruegel il Vecchio, Museo del Prado

Ratas

(a) ratón doméstico, (b) rata negra, (c) rata gris o noruega.

Rata

Rata negra, “Mickey Mouse”, Walt Disney, 1928

The last Van Gogh cows

Artist [show]Vincent van Gogh (1853–1890)     Title Deutsch: Kühe (nach Jordaens) English: Cows (after Jordaens) DateAuvers, July 1890 Mediumoil on canvas Dimensions55 x 65 cm

Vincent van Gogh (1853–1890). Cows (after Jordaens).July 1890. Medium oil on canvas. Dimensions 55 x 65 cm

Van Gogh cow in the beginning

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VAN GOGH. Lying Cow. Den Haag, August 1883. oil on canvas. 30 x 50 cm

Brancusi’s bird

CONSTANTIN BRANCUSI. Bird in space. 1923. Marble. (144.1 x 16.5 cm)

“From the 1920s to the 1940s Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement. In “Bird in Space” wings and feathers are eliminated, the swell of the body is elongated, and the head and beak are reduced to a slanted oval plane. Balanced on a slender conical footing, the figure’s upward thrust is unfettered. Brancusi’s inspired abstraction realizes his stated intent to capture “the essence of flight.” This particular conception of “Bird in Space” is the first in a series of seven sculptures carved from marble and nine cast in bronze, all of which were painstakingly smoothed and polished.”

(http://www.metmuseum.org/Collections/search-the-collections/486757)

Inflatable rabbit

JEFF KOONS. Rabbit. 1986

Koons’s Rabbit began as an inflatable, store-bought, plastic toy. Its transformation started when Koons bought it, blew it up, and had it cast in highly polished stainless steel. It has crinkled ears like an inflatable toy, a spherical head, and bulbous appendages, yet its face is blank. Employing a cliché, Koons has depicted a rabbit eating a carrot. While it appears to be a whimsical work of art, it also raises serious questions about what constitutes art. In its finished state it visually challenges the viewer on several levels. While it appears to be a shiny, lightweight, Mylar balloon, it is actually quite heavy and hard. Its mirrorlike surface also seduces the viewer, much as shiny silver in a jewelry store window would. As such, Rabbit addresses the heyday of luxury and consumerism in the 1980s. Rabbit’s surface also calls to mind the use of shiny metals in both historical and social contexts. According to Koons, “Polished objects have often been displayed by the church and by wealthy people to set a stage of both material security and enlightenment of spiritual nature; the stainless steel is a fake reflection of that stage.”

The sculpture’s stainless steel surface functions as a mirror and reflects everything that is exhibited around it and everyone who looks at it. It is a work of art with chameleon-like qualities—changing as its surroundings change.

FONT: http://mcachicago.org/archive/collection/Koons-txt.html

 

Bugs Bunny

 

Hare, rabbit more or less

ALBRECHT DÜRER. Young Hare. 1502.
Watercolor and body color, heightened with white body color

 

 

elephant drawing