That's what I've been wondering the past few months, but of course we will never know as all the old etchings of the old masters are with bridle.
Then three weeks ago my boyfriend reintroduced me to Photoshop, explained how to use the cloning tool (something which I had never understood before and never could make the darn thing work
) and suddenly I had a mission.
I collected scans of the original etchings, took off the bridle and added a cordeo instead. The result was the following:
First the original that I used for the cordeo version, an etching of the shoulder in from Gueriniere:
And this is the cordeo-version that was born out of it:
I did some more, also of plates from Ridinger, Pluvinel and Cavendish, but if I add them over here the page gets very long and heavy so it might be better to just go to the page where they all are (if you click on them they become bigger) together:
http://77.75.126.151/~dressuurin/afb/verzamelingo.jpgScroll down and you'll find them with the originals!
http://77.75.126.151/~dressuurin/afbeeldingen.html_________________
New horse book: Mandala horses! Never stop making mistakes!
Natural Dressage
Register
Login
FAQ
Search
I've placed them all exactly for that reason at the bottom of the pages, and gave every practical chapter it's own one that expressed that kind of work. I was especially in love with the Cavendish print of the horses playing haute ecole in the field - isn't it amazing that that was already drawn centuries ago, just showing the world back then already that of course horses can do haute ecole at liberty?
