"Calendar of Red Horses" by famous artists
Welcome to our “Calendar of Red Horses,” a visual tribute to the vitality, mystery, and imagination of the horse in art. As we approach the Year of the Red (or Fire) Horse, this collection brings together twelve remarkable works spanning a century and diverse artistic styles - from painting and sculpture to collotype and mixed media.
Each artwork features a red horse as a symbol of energy, passion, and freedom, inviting viewers to explore how artists interpret movement, emotion, and the spirit of this magnificent creature. Some inspire joy and dynamism, others reflection or melancholy - together, they capture the horse’s enduring presence in human imagination.
Celebrate the coming year through these striking visions of red horses, where color, form, and myth converge in a journey across time, culture, and artistic expression.
January
Roy Lichtenstein "The Red Horseman" 1974
In "The Red Horseman" Roy Lichtenstein paraphrases the painting of the same name by futurist Carlo Carrà created in 1913, a homage to motion and speed, itself only known as a reproduction. Lichtenstein quotes the famous original not as a famous object of high culture but as a randomly accessible part of a mass culture that no longer distinguishes between popular and high culture.
Lichtenstein’s polemic against the utopia of the futurist painting finds expression in the commercial imagery of the benday dots points to which he subjects the original image. In the process of transferring to unmodulated colors, dotted shadings and fixed contours, Lichtenstein freezes the motion of the original and cancels out the dynamic effect of the painting.
“Formally speaking, of course, I copy, but in reality a give a different portrayal of what I copy. The original is given a totally different texture. Instead of thick and thin brushstrokes there are dots, flat colors and rigid outlines. This may seem like anti-art, but that’s not the way I see it”.
The prerequisite for levelling out trivial and high culture are the reproduction techniques that facilitate mass distribution of unique originals. As early as 1936 philosopher Walter Benjamin prophesies the loss of aura, works of art would suffer through reproduction, the end of uniqueness and originality, which elevates them above the commonplace.
Lichtenstein’s oeuvre seems like a revision of this thesis, as Pop Art critic Lawrence Alloway points out: “Roy turns citation into a form of originality all his own.”
References:
Museum moderner kunst stiftung ludwig wien
February
Kazimir Malevich "Red Cavalry" Circa 1932
Oil on canvas, 91 x 140 cm
The key to perceiving the images of Malevich’s later works lies in the depths of the symbolism of colour and his universal compositional schemes. Red Cavalry contrasts the stability of the endless space and the fragility of the red riders. What is this? A hint at the horsemen of the apocalypse or a new symbol of the inevitability of world revolution?
For many years, this artwork, painted in 1932, was considered Malevich’s only contribution to the official history of Soviet art, in light of the fact that the artist had fallen out of favor. It was only permitted into the pantheon of Soviet art due to its title, which appears to eulogize the Russian Revolution and the Red Army. Malevich intentionally dated this painting 1918, in the bottom right-hand corner of the canvas, and on the back he wrote: «From the capital of the October Revolution, the Red Cavalry rides to defend the Soviet frontier».
Despite these grand words, this painting is in fact one of the most desolate and tragic works that Malevich produced during this final stage of his artistic career.
In the composition of this extraordinary artwork we can see a reflection of Malevich’s thoughts on his contemporary reality. In the artist’s own words: «Some leaders invite you to contemplate a spiritual existence, while others incite you to accumulate material goods. And so, their faithful followers begin to march… The flags are changed as frequently as dishcloths, but it is all in vain: our feet remain sweaty, our fingers are still chafed and blistered. The energy of human movement, in the hope of gaining something, is reminiscent of the madmen who rush headlong towards the horizon because they believe they have found the ends of the earth, forgetting that they are already standing on the horizon and do not need to run anywhere».
In this painting, the revolutionary horsemen, whipped by an unseen force and almost lost in the empty, eternal space, race across the land under a host of red flags. The small red silhouettes almost melt away between the Suprematist bands of pure color. Their movement is frantic, useless and absurd, as their journey is endless and the sky and the earth are indifferent to the coming and going of human beings. Ultimately, the Promised Land has never, and will never, exist.
References:
Russian Museum, St. Petersburg
March
Amazons with Lions, 1918 by Wassily Kandinsky
Oil on glass, 31,3 х 24,2 cm
Female Rider in Hills, Female Rider and Blue Lions, White Cloud and With Fruits are painted in oil on glass ‒ a technique dating back to the traditions of Old German folk art, which Wassily Kandinsky studied in Murnau in the late 1900s and returned to at the end of the 1910s. The most remarkable features of these works are its naive narrativeness, deliberate rejection of real scales and perspective, bright and flat painting of the figures and objects, equality between the major and minor details and the strongly expressed folkloric basis.
References:
Russian Museum, St. Petersburg, Russia
April
Alexander Calder Cheval Rouge (1974)
The artwork “Cheval Rouge” is a sculpture by Alexander Calder created in 1974. As a significant figure in the Abstract Expressionism movement, Calder’s work is characterized by its bold, abstract forms and vibrant color. This sculpture, whose title translates to “Red Horse” from French, exemplifies Calder’s innovative approach to sculpture.
In this image, the sculpture Cheval Rouge stands out with its vivid red color and distinguished abstract form. The work is composed of large, curved metallic elements that create an image reminiscent of a horse, playing with the viewer’s perception and inviting multiple interpretations of its shape. The bold, flowing lines and the absence of detailed features are typical of Calder’s abstract style, moving away from literal representation and towards evoking a sense of motion and life through form and color. The bright red hue catches the eye and contrasts with the green surroundings, emphasizing the artwork’s whimsical presence in an outdoor setting.
References:
National Gallery of Art, Sculpture Garden , Washington, USA
May
Kuzma Petrov-Vodkin "Fantasy" 1925
Oil on canvas, 50 х 64,5 cm
Kuzma Petrov-Vodkin created his own original theory of painting, developing a system of spherical perspective from divergences from geometrically regular forms. Many of his works combine a planetary outlook with a large-scale form free of minor details. The poetic metaphor is particularly strident in Fantasy. The figurative structure of this work is perceived as a passionate summons to awaken and fly across the wide-open spaces.
References:
Russian Museum, St. Petersburg, Russia
June
Georgia O'Keeffe. "Untitled (Horse)", 1914
Oil on cardboard, 11 1/2 x 12 1/2 inches
There are several still-life studies in Georgia O’Keeffe’s very early sketchbooks, mostly drawings in pencil on paper. One of her few still-life paintings from this period is this depiction of a tabletop with a model horse. Painted with oil on cardboard, this work dates from 1914, when she was a student at Teachers College in New York. Her technique—the application of dots of paint—suggests that she had studied reproductions of paintings by the so-called “Pointillists” of the late 1800s. An unfinished version of the same design is visible on the back of the cardboard.
References:
Georgia O'Keeffe Museum (Santa Fe), USA
July
Franz Marc "Horse in the Landscape" 1910
"Horse In Landscape" (1910) is one of the earliest works where Franz Marc, inspired by Kandinsky, experiments with colors. In this painting, there's a purple horse with a blue mane and tail looking over a landscape defined by yellow, red, green and blue areas. The horse is standing with its back to the observer, so that it can take the viewer's perspective.
Franz Marc's unique talent was recognised and encouraged at the Munich Academy. On several trips to Paris, he discovered the works of van Gogh for the first time, which made a significant impression on him and helped him to develop an independent artistic language. Through his friend August Macke, he met Wassily Kandinsky, Gabriele Münter and Alfred Kubin, with whom he founded the Expressionist artists' association "Der Blaue Reiter" in 1911. At the outbreak of World War I, Marc was drafted into military service and died two years later in the Battle of Verdun.
Marc examined Naturalism, Art Nouveau and French Impressionism, but sought a new language of expression in order to be able to depict "the spiritual essence of things". With unprecedented consistency, he approached a new form of art in which colours acquired a symbolic meaning far beyond naturalistic representation: "Every colour must clearly say who and what it is, and must be set on clear shapes", Marc explained. For him, blue is the colour of the spiritual, red is love, passion and vulnerability, yellow is the sun and femininity.
Animal, in particular, were the focus of his painting, as they, in contrast to people, symbolised originality and purity to him. Just like Kandinsky, he sought the renewal of the spiritual in art.
References:
Museo Folkwang en Essen, Alemania
August
Odilon Redon “Pegasus and the Hydra” c.1907
Rijksmuseum Kruller-Muller, Otterlo, Netherlands
“Pegasus and the Hydra” is a mythological painting created around 1907 by Symbolist artist Odilon Redon. The work, now held at the Kröller-Müller Museum in the Netherlands, reflects Redon’s fascination with fantasy and classical mythology. Through a dreamlike vision, the artist transforms ancient legend into an imaginative and emotional scene.
The background is filled with intense reds and oranges, suggesting heat, movement, and tension. Against this fiery setting, the dark, coiling Hydra appears below, its multiple heads and sharp teeth emphasizing its threatening nature. Rising above it is Pegasus, the winged horse, portrayed with grace and lightness. The green-tinted wings contrast strongly with the warm background, drawing attention to the mythical creature’s elegance and power.
Redon’s soft handling of paint and fluid blending of colors give the scene a mystical, almost unreal atmosphere. The painting captures the Symbolist aim of expressing inner emotion and imagination rather than realistic detail.
Odilon Redon (1840–1916) was born in Bordeaux and became one of the most imaginative artists of his time. He began his career working mainly in charcoal and lithography, producing dark, haunting images known as Les Noirs. Influenced by literature (including Edgar Allan Poe and Symbolist poets like Stéphane Mallarmé), Redon’s art explored the mysterious and unseen, often mixing fantastical elements with psychological depth. Later in life, he embraced color in pastels and oils, earning admiration for his lyrical palette and visionary style.
References:
September
Ernst Ludwig Kirchner "Chariot and Horses with three Farmers" 1920/1921
Chariot and Horses with Three Farmers by Ernst Ludwig Kirchner is a striking example of German Expressionism. The painting depicts a rural scene, yet it is far from calm or realistic. Kirchner uses distorted forms, sharp lines, and intense colors to convey movement and emotional tension rather than accurate representation.
The pure colours chosen for this painting, applied in large areas, form a striking contrast. The yellow, green and blue of the cart and the three farmers are juxtaposed with the red of the horses and the background. Kirchner also added some very dark areas around the various figures, lending the image a sense of drama. The painting depicts a common scene in the mountain streets of Davos at the time it was made. Indeed, there was a ban on motor vehicles in the canton of Graubünden until 1925, resulting in the use of slow means of transport like horse-drawn carts.
Chariot and Horses with Three Farmers by Ernst Ludwig Kirchner is a striking example of German Expressionism. The painting depicts a rural scene, yet it is far from calm or realistic. Kirchner uses distorted forms, sharp lines, and intense colors to convey movement and emotional tension rather than accurate representation.
Bold, non-naturalistic colors heighten the sense of unease and vitality in the scene. Through these expressive techniques, Kirchner transforms an ordinary moment of rural life into a powerful emotional experience, reflecting his belief that art should express inner feelings rather than external reality.
References:
Museo d’arte della Svizzera italiana
October
Marisol Escobar "John Wayne" (1963)
"John Wayne" (1963) by Marisol Escobar, simply known as Marisol, is a striking sculpture that challenges the myth of American masculinity and celebrity culture. Marisol, a Venezuelan-American artist associated with the Pop Art movement, was known for combining carved wood, painted surfaces, and photographic images to create fragmented, often humorous figures.
This work merges the image of the famous Western film star John Wayne with a brightly colored, stylized horse, breaking the traditional heroic form into a playful, disjointed composition. The use of photographic fragments highlights how celebrity identities are constructed and mediated through media imagery rather than lived experience.
Created during the early 1960s—a time when America was grappling with changing social norms and the rise of mass media—John Wayne reflects Marisol’s critical yet witty exploration of cultural icons. Rather than glorifying Wayne’s tough-guy image, the sculpture reveals it as a carefully assembled performance, inviting viewers to reconsider the nature of fame and masculinity in modern America.
Marisol’s innovative blending of materials and imagery made her a unique voice in Pop Art, one who infused popular culture with psychological depth and irony. John Wayne remains a compelling example of her ability to both celebrate and question the symbols that shape American identity.
References:
Colorado Springs Fine Arts Center, USA
November
Andy Warhol "Polo Players" 1985
Created in 1985, "Polo Players" is part of Andy Warhol’s late-career exploration of sport, movement, and elite culture. Based on photographic imagery of professional polo players in action, the work transforms a split-second athletic moment into a bold, graphic composition using Warhol’s signature silkscreen technique and collage.
The raised mallet, galloping horse, and cropped figure evoke speed and tension, while flattened forms and vibrant, contrasting color fields disrupt realism. Warhol’s use of repetition and color variation echoes his earlier portraits of celebrities and royalty, replacing famous faces with a sport long associated with wealth, status, and power.
More than a depiction of polo, the work reflects Warhol’s ongoing fascination with spectacle and social hierarchy. By translating an aristocratic pastime into Pop Art language, Polo Players blurs the boundary between high society and mass culture, reinforcing Warhol’s enduring ability to turn moments of privilege and performance into iconic, modern images.
December
Marc Chagall, Le Cheval Rouge (The Red Horse), 1954
Chagall Collotype Printed with Colors and Pochoir
Marc Chagall’s Le Cheval Rouge (1954) is a poetic vision that blends memory, fantasy, and symbolism—central elements of his mature style. The painting depicts a red horse flying across the sky, pulling a sleigh carrying a young woman and two yellow birds. Defying gravity and realism, the scene unfolds like a dream, guided by emotion rather than logic.
Below the airborne figures lies a quiet, snow-covered village rendered in cool blue tones, recalling the Eastern European shtetl of Chagall’s childhood. This contrast between the grounded village and the floating figures emphasizes a recurring theme in Chagall’s work: the tension between earthly life and spiritual freedom.
The red horse, glowing with intensity, symbolizes vitality, passion, and inner strength. More companion than beast, it becomes a vehicle of memory and imagination. The female figure, gently holding the reins, suggests harmony and love—qualities often associated with Chagall’s representations of women. The yellow birds add warmth and whimsy, evoking freedom and the soul.
Through expressive color and fluid forms, Le Cheval Rouge offers a vision of escape and tenderness, affirming the power of imagination to transcend hardship and preserve hope.
