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This page is for everything from the "light-hearted" to "just does not fit in anywhere else" equine related art showings and so on!


Is an entertainment of horses and humans that emphasizes the bond between the two. (see the review below and their website).

It is produced by a former member of Cirque du Solei.

You can find an a banner ad at Chronicle of the Horse magazine (an excellent Sporthorse magazine, however most articles subscription only).

Link to

They are touring in Texas in Spring, 2006 with other dates at their website.

2004 review from San Francisco

OK--I'm sorry--I just have to mention
Playing on E! cable station

Have you seen
”Filthy Rich: Cattle Drive”?


This is a series on E! (Entertainment TV on cable in US).

The basic plot is this:

Children (over 18) of the “rich and famous” are selected to be on two teams that work on a cattle drive over several weeks.  They are working for money that will be donated to charities.


The “rich and famous” offspring include top offspring (Google, etc.), actor offspring (Anthony Quinn, etc.), sports legend offspring (George Foreman, etc.) and so on—you get the idea.


They work under the supervision and instruction of a ranch owner and son in Wyoming.  Mostly the son (Who seems to have issues of his own)  and a very skilled staff.


Many of the team members had not ever been on a horse, so you do have to give them (those taking the challenge and those doing the teaching and supervision) a lot of credit.


Most of the staff and crew frown upon not doing your own dishes or laundry.


Needless to say, it is the stuff made for “clash of the cultures and/or lifestyle”.


A recent episode had one of the team members finding a Domino’s Pizza delivery that would deliver over $100 of Pizzas to the middle of nowhere in a late model SUV—for a tip of $200.  He drove through a bunch of trees with his little sign on top of the car.

    That team member cost his team a $5000 bonus.

However, they all liked the pizza.


    Another claimed the son of the ranch owner was violating the agreement that they had signed, and said they should just let the lawyers work it out.  The son of the ranch owner basically just called him a wimp.


   One of the “final tests” was for the staff to just leave the teams on their own to move the cattle one day from camp A to camp B, with a map that was left dangling from a tent pole.  They made it.  The staff congratulated them.


No matter what “side” you take on this, or if you just view it for more entertainment, reality TV, pop culture, etc., etc.,-- at times it is very funny.


And some of the campfire talks are very revealing, if you are into that sort of thing.


All in all, (occasionally) worth watching.


And, after all, it is “for charity”!!!!




Stubbs Museum Exhibit

Stubbs and the Horse" features 35 drawings and 40 paintings by George Stubbs, long considered the world's finest equine painter.

Walters' Mane Event
By Mary Quattlebaum
Special to The Washington Post
Friday, May 6, 2005

CELEBRITY HORSES of old could boast a portraitist on par with Leonardo da Vinci, an Englishman who could wield a paint brush as skillfully as they pounded turf. At the
Walters Art Museum in Baltimore, today's kids can gaze at some of the greatest horses of all time -- and learn how they developed both in the stable and on canvas.

Running through June 5, "Stubbs & the Horse" features 35 drawings and 40 paintings by George Stubbs (1724-1806), long considered the world's finest equine painter. Don't know a hoof from a haunch? No problem, says Kathy Nusbaum, the museum's manager of children and family programs. The exhibit is designed for horse lover and novice alike, with a corral full of special children's programs. On Saturday, a full-day festival promises a veterinarian, farrier, storytelling cowboy (complete with mount), sidesaddle riders, movies and, of course, horse-drawing demonstrations.

The exhibit has proved a big hit with kids. "That's been an unexpected and pleasant surprise," Nusbaum says. She credits its popularity to the subject: "There's something universally appealing -- almost magical -- about horses." But the exhibit text also deserves praise. The labels make the superb paintings especially accessible by relating the (often lively) stories behind them.

On a recent Sunday visit, my 6 1/2 -year-old, horse-crazy daughter found the three-room exhibit full of like-minded youngsters. Though the kids tended to move quickly through the first room, the meticulous studies of horse skeletons and musculature certainly merit a closer look. Like da Vinci (to whom he is often compared), Stubbs grounded his artistry in keen knowledge of anatomy. For 18 months, he secluded himself in a northern English village to dissect and carefully detail several horse carcasses, the better to know the animal from the inside out.

For Stubbs, though, the horse was much more than the sum of its parts. In the second room, his nine-foot-tall "Whistlejacket" (1762) captures the fiery beauty of the creature -- and does it so convincingly that Whistlejacket himself reportedly mistook the image for a rival stallion.

Stubbs was also recording a key moment in horse history: the advent of the thoroughbred racehorse. This speedy breed developed in the 18th century when three stallions imported from the
Middle East and North Africa were crossed with British mares. Justly proud and plump of purse, the aristocratic owners of these early thoroughbreds commissioned artwork from Stubbs. On view are Whistlejacket, Scrub, Gimcrack and the amazing Eclipse, winner of 18 out of 18 races.

Less fast, perhaps, but no less interesting are the horses in Stubbs's outdoor "conversation pieces." This style of portraiture, popular at the time, showed a person engaged in some ordinary activity, say, holding his steed. As rendered by Stubbs, though, the horses often upstage their human companions. The newly married Pocklingtons shower affection -- a flowery treat, a loving pat -- on their mount rather than each other ("Captain Samuel Sharpe Pocklington With His Wife, Pleasance, and Another Lady, Possibly His Sister Frances," 1769). A dark-garbed groom fades beside a silvery hunter and Greyhound focused quietly on each other ("Gray Hunter With a Groom and a Greyhound," 1766). Indeed, probably to the delight of young viewers, Stubbs tends to dramatize moments between animals rather than humans. In "Mares and Foals" (1763-65), body language -- flattened ears, turned heads -- reveals the dynamics of a group of equine moms. A staid coachman stands in marked contrast to the fuzzy dog happily greeting a royal black horse ("The Prince of Wales's Phaeton, With the Coachman Samuel Thomas and a Tiger-Boy," 1793).

The exhibit's third room holds horse books aplenty for kids and adults, and chairs for reading or reflecting on the art. It also displays Stubbs's series on horses and lions, in which the artist harks back to the wild ancestors of the English thoroughbred. According to these paintings, in the
North Africa and Middle East of the distant past, swift hooves meant the difference between life and death. Stubbs pits the tensed muscles and whinnying fear of a majestic white stallion against the sharp claw and fang of the king of beasts. There is no resolution -- no painting shows whether prey escaped or not -- so parents should be prepared for their kids' questions and personal takes on the scenes. From my own child and others, I heard, "What happened to that horse? Did the lion eat him? I think the horse kicked his head and bit him and ran away." At least from the young viewers' perspective, the lion remained an ever-hungry loser.

Perhaps the best measure of an exhibit's impact on kids is the reaction of the kids themselves. A peek inside the black "comments" book proved quite revealing. Not only did youngsters pen "Great exhibit" or "I loved it," but they also entered their own drawings. Jonathan, 9, sketched a jockey astride a noble steed; Hannah, 7, presented a prick-eared beauty; and Sara, 5, limned a mare with flowing mane. If imitation is the sincerest form of flattery, then the great Stubbs should feel flattered by this new generation of equine artists.

STUBBS & THE HORSE -- Through June 5 at the
Walters Art Museum, 600 N. Charles St., Baltimore. In the historic Mount Vernon Cultural District of Baltimore, the museum is one mile north of the Inner Harbor. Parking


Copyright to the above is to Washington Post Newspaper

This is provided solely for educational purposes


May 2005 Article # 5740

Article Tools

Nearly a dozen "Moneighs," original paintings created by famous racehorses, have been listed by ReRun, Inc. on eBay during the week preceeding the 2005 Kentucky Derby.  ReRun, Inc., the registered non-profit 501(c)3, is hopeful that racing fans across the country will support its Moneigh program which helps raise money for ex-racehorses seeking placement into new adoptive homes once their racing careers have ended.

These original paintings created by famous racehorses including: Castledale, El Prado, King Mambo, Louis Quatorze, Mineshaft, Southern Image, Wimbledon and others can be viewed on eBay throughout Derby- week, with the auctions ending Monday evening, May 9th, 2005.

"Moneighs" are trademarked by ReRun, Inc. and are created by the mouth, nose, hooves and tails of famous racehorses using non-toxic watercolors.   Each painting is matted and framed with a customized brass name plate.  Additionally, winning bidders will receive a photo featuring their one-of-a-kind Moneigh next to the racehorse that created it.

Stallion farms, owners and trainers across the country have joined forces with ReRun, Inc. hoping to raise awareness for Thoroughbred adoption.

"Our Moneigh program allows those more fortunate, famous racehorses the opportunity to support their less fortunate friends," said ReRun, Inc. Executive Director, Laurie Condurso-Lane.  "We’re so lucky to have the support of so many in the industry and grateful to those that have supported us along the way."

To view the Moneighs currently available on eBay, please search using keyword Moneigh.  For additional information and a list of other original Moneighs (including Smarty Jones, Funny Cide, Point Given, Ten Most Wanted) not currently offered on eBay, please contact ReRun, Inc. at 732-521-1370, or

Article above at
"Cavalia" equine live theater show  debuting in LA."
"Cavalia" is a live equine theater show from one of the originators of Cirqe du Soleil, the Canadian based modern dance-gymnastic-theater show that is a permanent fixture in Las Vegas.  Primarily performed without direct control of the horse (through riding, lines, etc.), it is an innovative and unusual exhibition utilizing mostly Lusitano horses-- stallions.  The following is from the New York Times, Theater and Entertainment section, Nov. 2004:

Though many of the horses in "Cavalia" do in fact perform fitted with saddles, reins and bits, Mr. Latourelle insisted that the show hew to a narrative of the horse as free spirit. The concept blossomed fully on a trip to France, where he and Ms. Day looked up Mr. Pignon and his wife, Magali Delgado, who are prominent breeders and trainers of Lusitanos.

"At their farm in the south of France, I was expecting to see the usual things - riding horses in the round," Mr. Latourelle said. "Instead, Fred brought three stallions to the field and started to run and play with them. For me, the script was partly written right then: the dream for freedom. I said, this is the story we have to tell, that it is possible to be in a good relationship with horses in which there is mutual respect and a sense of the possibilities of freedom."

He was sold when Ms. Delgado put one of her Lusitanos through its paces using finger and body gestures. She is a fearless rider who performs precise dressage movements on a stallion, without reins or bit, and then gallops bareback merrily around the stage. The four quickly teamed up.

A major part of the training philosophy is that respect is owed the wills, temperaments and moods of a horse. "The stallions know they can just walk off that stage if they want," Ms. Day said.

Each performance of "Cavalia" is predicated on the possibility that at least one horse might well decide he is tired or bored and simply say, "Goodnight," Mr. Latourelle said. "This is not my night. I'm out of here."

In the previous page of the article, the NYT stated that the show had been mostly sold out at the 1,600 seat theater, and that in the Spring a US East Coast tour was planned. 

NYT--Nov.30, 2004


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