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The Source for Everything Equine

Museums

There are Museums dedicated to the Equine culture all over the world. We offer an exhaustive list of Western Museums, Rodeo Museums and Carriage Driving Museums throughout the United States and Internationally from Europe to Asia. Explore this fascinating world! Read more...


Equine Art

Paintings

Artists all over the United States and around the world specialize in a wide variety of styles and genres, portraying the Horse and the people who have them in their lives. There's also the highly unusual approach of giving the Horse a paint brush and letting him create their own art on canvas. Unbelievable but true. Many charities, rehoming and retirement organizations raise significant funds from Paintings devoted to horses.Read more...


Photography

There are people who specialize in different types of Equine photography from Portraiture to Rodeo, capturing live events. We offer an extensive resource of Photographers located all across the United States and around the world. The locations are only as a reference and photographers often travel extensively to perform their craft. Please contact the photographer directly regarding your specific location needs. Read more...


Sculpture

The ancient art of Sculpture is alive and thriving today. We offer a selection of Sculptors from the United States and Internationally. There are artists who use the expected mediums of bronze or marble, but there is also a fascinating trend to use drift wood and other natural mediums to capture the three dimensional form of the horse. Read more...


James Beck, Director, ArtWatch International, (revised 12/8/1992)

  1. All works of art have the inalienable right to live an honorable and dignified existence.
  2. All works of art have the inalienable right to remain in their original abode, whenever possible. They should be permitted to rest in their acquired homes without being moved to distant places: in galleries and museums, in private collections, in houses of worship, in public spaces, under protected and controlled situations as removed as much as possible from pollution, excessive variations of climate, and all forms of degradation.
  3. Works of art recognized as of the highest order should be regarded as belonging to the entire society of the world, the 'global cultural patrimony', not to a single entity, either local, institutional, or national, although the 'owners' would continue to have full custodial responsibility.
  4. The "owners" of the paintings and sculptures as well as other art objects, hold them under an enforceable constructive trust, for the benefit of the public.
  5. In the process of conserving works of art, ample room must also be provided for the new as well as for the conservation of the old, for otherwise we would risk fossilizing ourselves to the past. Decisions affecting art held in trust should be reviewable.
  6. The most distinguished art objects shall be specially designated 'world-class masterpieces', representing, perhaps, one object in a hundred among the finest cultural treasures (somewhat in the way that buildings are selected for "landmark" status). Prior to the restoration of any in this group of masterpieces, all proposed procedures would be subject to review by a court of competent jurisdiction after hearing testimony from specialists and representatives of the culture. Second opinions and sometimes third opinions would be sought.
  7. Under no circumstances should preservation and conservation techniques be employed that are essentially experimental in nature, except where the artwork is in imminent danger. In all other cases carefully controlled, fully documented testing is a prerequisite; findings, including photographs, must be made publicly available in a timely manner and at a reasonable expense. No restoration should be undertaken for the sake of curiosity or profit. If scholarly or scientific "discoveries" result from conservation techniques, they should be regarded as fortuitous byproducts, not as the raison d'etre of the intervention, as the artwork must not be considered an 'experimental laboratory'. Since every treatment, cleaning, or restoration has the potential of negative side effects, interventions should be taken sparingly, and with reversible techniques if possible, recognizing implicitly that in the future more effective and less damaging procedures may be devised. Restoration techniques should be subject to review before any restoration is undertaken.
  8. Masterpieces of the past should not be reproduced without clearly distinguishing original from copy, so that the integrity of the original is preserved. Efforts should be made to protect artists and their estates from violations of the intentions.
  9. Unified art works should not be divided or dissected, altered or mutilated, e.g., predella panels should not be separated from their altarpiece nor should individual pages be removed from a book of drawings. In principle, subsequent transformations, adjustments, reformulations added to the original statement should be left in tact as a mark of history.
  10. The stewardship of works of art, especially masterpieces of noted historical significance, should be subjected to free and open debate, and appropriate judicial review.
  11. The examination and maintenance of works of art must be provided on a regular basis and carried out by dedicated, trained professionals, certified by national and international standards, when feasible, after any objector has been given the right to be heard.

(signed) James Beck, Director, ArtWatch International

Equine paintings have been around for centuries, with some of the earliest known examples dating back to the cave paintings of Lascaux. Paintings of horses can be found in museums and galleries all over the world, and they are also popular among private collectors.

Equine paintings can be realistic or abstract. Realistic equine paintings often depict horses in a natural pose, such as grazing or galloping. Abstract equine paintings may be more stylized or geometric.

Equine paintings can be made from a variety of materials, including oil, acrylic, watercolor, and pastel. Oil and acrylic are popular choices for equine paintings, as they allow the artist to create a wide range of effects. Watercolor and pastel are also popular choices, but they are more delicate and require more care.

Some famous examples of equine paintings include:

Equine paintings are a beautiful and diverse art form. They can be used to depict the beauty and power of horses, as well as to explore more complex themes such as movement, freedom, and the relationship between humans and animals.

Here are some additional characteristics of equine paintings:

  • Equine paintings often capture the horse's movement and grace.
  • Equine paintings can be used to express a variety of emotions, such as joy, power, and beauty.
  • Equine paintings can be used to tell stories, such as the story of a horse and its rider or the story of a particular horse breed.
  • Equine paintings can be used to create a sense of place, such as a painting of a wild horse herd in the American West.

Equine paintings are a beautiful and expressive art form that can be enjoyed by people of all ages.


Please note: The artwork shown here are representative images and not necessarily those of the artists listed.
The locations are only as a reference since artists often travel for commissioned work. Please contact the artist directly regarding your specific location needs.

Featured Listings - Paintings

  • Backstretch Studio, Len Jagoda
    Backstretch Studio, Len Jagoda 604 Twin Lakes Road, Waverly Hall, GA 31831
    ph: (706) 593-6786
    Email: Leonardo_jay@earthlink.net

    Len Jagoda’s art has garnered over 70 awards regionally and nationally. His works have been accepted to national and international exhibitions, including the Grand National four times. He has had the honor of portraying Derby winners, Triple Crown winner American Pharoah, two-time Breeder’s Cup Classic winner Tiznow, and many other champions and leading sires.

  • Robert Clark, Artist
    Robert Clark, Artist 137 E. Main St. Georgetown, KY 40324
    ph: (321) 266-1009
    Email: bob@robertclark.us

    A lifetime of drawing and painting has established Robert Clark as an elite equestrian artist. Robert’s mastery as a painter and his passion for horse racing combine to create canvases that freeze a winning moment into a timeless masterpiece.

Paintings, Posters and Prints - General

UNITED STATES | International (click here)

Paintings - United States

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  • Ann Goble Fine Art
  • Backstretch Studio Backstretch Studio, Len Jagoda
    604 Twin Lakes Road, Waverly Hall, GA 31831

    ph: (706) 593-6786

    Email: Leonardo_jay@earthlink.net



    Len Jagoda’s art has garnered over 70 awards regionally and nationally. His works have been accepted to national and international exhibitions, including the Grand National four times. He has had the honor of portraying Derby winners, Triple Crown winner American Pharoah, two-time Breeder’s Cup Classic winner Tiznow, and many other champions and leading sires.



  • Barbara Rush
  • Julie Ferris

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PAINTINGS - INTERNATIONAL


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Watch the video about the release of the book A Brush With Greatness about the works of painter Robert Clark. Then read about this relation to the horses and their owners and riders in the article An Artist's Life: Living Through Horses and Their people. You can have Robert Clark paint a portrait of your horse! Contact him at bob@robertclark.us and use the code CLARK2020 for a special price.

A Brush With Greatness is available on Amazon.

Photo from "Untamed Spirits: Horses from Around the World" by Drew Doggett

Read an excerpt from "Untamed Spirit: Horses from Around the World" by Drew Doggett.

Equine photography is the art of photographing horses. It is a challenging but rewarding genre of photography, as horses are beautiful and expressive creatures. Equine photographers must be able to capture the horse's movement, grace, and personality in their images.

There are many different types of equine photography, including:

  • Portrait photography: Equine portrait photography is similar to human portrait photography. The goal is to capture the horse's individual personality and beauty in a single image.
  • Action photography: Equine action photography captures the horse in motion. This could be anything from a horse jumping a fence to a horse galloping through a field.
  • Documentary photography: Equine documentary photography tells the story of horses and the people who love them. This could involve photographing horse shows, horse racing, or simply people enjoying their horses at home.

Equine photographers use a variety of techniques to capture the best possible images of horses. Some common techniques include:

  • Using a fast shutter speed: A fast shutter speed is necessary to freeze the horse's motion and prevent blur.
  • Using a wide aperture: A wide aperture allows the photographer to blur the background and focus attention on the horse.
  • Using natural light: Natural light is often the best light for equine photography. It is flattering and can help to create a sense of atmosphere in the image.
  • Capturing the horse's eyes: The horse's eyes are one of its most expressive features. Equine photographers often try to capture the horse's eyes in their images to add emotion and depth.

Equine photography is a beautiful and challenging art form that can be enjoyed by people of all ages. Equine photographers capture the beauty, grace, and personality of horses in their images.

Here are some additional tips for equine photography:

  • Be patient: Equine photography can be time-consuming. Horses are unpredictable animals, so it is important to be patient and wait for the right moment to take a photo.
  • Get to know your subject: The more you know about horses, the better your equine photos will be. Take some time to learn about horse behavior and body language.
  • Be safe: Horse safety is always paramount. Be aware of your surroundings and never put yourself in a dangerous situation.

If you are interested in learning more about equine photography, there are a number of resources available, including books, websites, and workshops. If you are interested in hiring a photographer, there are many listed here to cover your event or to capture beautiful moments with your horse!


Please note: The locations are only as a reference and photographers often travel extensively to perform their craft. Please contact the photographer directly regarding your specific location needs.

UNITED STATES | International (click here) | Rodeo Photography

Photography

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Rodeo Photography Association

Rodeo Photography

By Ann S. Gordon, CPP
Read the original article on Professional Photographer here...

When I was 8 years old, I was photographing horses with my Brownie Flash Six-20. The camera had two settings: 5 to 10 feet and “Beyond 10 feet,” which I probably didn’t use reliably. The horses in those images had bulbous noses, large heads, and very long back legs.

Today, more than 50 years later and having photographed hundreds of equines in my animal portraiture business, I know how to make the animals look their best and reflect the breed or equestrian sport their owners enjoy.

Even if you don't specialize in animal photography, you may be asked by clients to include a horse in a portrait, as was a friend of mine recently. If so, you’ll find the following tips helpful in capturing wonderful images of the large, easily distorted, incredibly beautiful animal that is the horse.

1. Use a long lens. Try a 200mm or 300mm lens, and stand back as far as 1 foot per millimeter. In other words, when using a 200mm lens, shoot from 150 to 200 feet. This helps minimize the distortion that can happen when photographing such a large animal.

2. Use a fast shutter speed. A minimum of 1/250 to 1/500 second is best. You can use shutter priority to make sure things don’t blur if you’re working in an arena where the light is constantly changing, but I like to use my manual setting for most things. Even with a standing horse, those ears move, as does the tail.

3. Have an assistant. You’ll need one to make noises, move horse feet, rattle buckets, and hold onto a fractious horse so the owner can look relaxed. In order to keep the animal calm, the assistant needs to be very comfortable with horses.

4. Get down. Your lens should be at the mid-shoulder of the horse. Any higher than that, and the animal’s legs will look short. If you’re too low, the legs will appear long—really long. I wear gel kneepads so I can move quickly without hurting myself.

Read more: Horse Sense: 12 Tricks for Better Equine Photography

  1. First Retrospective by Robert Vavra, horse photographer nonpareil
  2. Horsing around: Paola Pivi reaches new heights at the Eiffel Tower
  3. Photographer creates 3,000 square foot backdrop
  4. Sculpture

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