CFP: Baroque Horses & Horsemanship

The theme for WSECS 2018, to be held Feb. 16 & 17, 2018 in Las Vegas, is Conversing among the Ruins: the Persistence of the Baroque. 

 

   In modern parlance, baroque breeds are those that are heavier than the typical warmblood, but without being draft-like. The Iberian breeds and the Friesian are easily recognized as “baroque,” despite the former predating that period and the later being comparatively young in its current form. The Knabstrupper has a “baroque” registration category, despite having a well documented 1812 foundation date. Tack and riding styles likewise have forms described as “baroque,” despite often being only tangentially related to that time period.

 

  I am looking for additional presenters for a panel on Baroque Horses and Horsemanship; either the baroque period itself, being the seventeenth and early eighteen centuries, or the remembrance of it in the late eighteenth and early nineteenth centuries. This period encompasses many notable equestrian works, including Newcastle (1658), with his fondness for Iberian horses, through Baucher (1842).

 

   E-mail proposals to KatrinBoniface@gmail.com by Sept. 29. EDIT: the WSECS deadline has been re-extended.  E-mail proposals to KatrinBoniface@gmail.com by Nov. 10

pumpkinbutt
This young Andalusian developed the “baroque” neck early

 

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7 thoughts on “CFP: Baroque Horses & Horsemanship

    • I read your post the other day, and was thinking about the painting. It isn’t a Knab, but to say it is “Knab like” is more than reasonable, and not just because of the physical resemblance. Unlike many breeds, the Knabs foundation and the beginning of record keeping coincide (unlike, say, the Morgan, where Figure was born in ~1789, but Battell’s Register wasn’t until 1894). However, they were, even then, a “nostalgic” breed; they were meant to recreate spotted horses bred in Denmark previously, that had been “lost.” The painting is, I’m fairly sure, a Baron Reis von Eisenberg. It’s been labelled as an “appaloosa,” which is clearly a modern addition, and from “Lipizza,” which of course may also be information added much later and may or may not have basis in fact (I believe the Wilton House Collection is mostly numbered rather than titled). There were some apps among the early Lippizzans, and like the Danish tiger horses the Knab was meant to recall, they came from Spain. Regardless, it was the type of horse in that painting that the Knab was created to remember.

      Depending on how far you (or anyone else stumbling across this) want to go down this rabbit hole, I recommend Pia Cueno’s work for representations of the horse in early modern art; Dániel Margócsy gave a talk this past weekend on horses, and horse art, as collected items, which hopefully he will expand and publish; and for the Hapsburg connection, Kathryn Renton’s forthcoming dissertation. There is also a book on the Wilton House Collection itself, but its mostly just prints of the paintings (which are, of course, lovely).

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