chestnut racehorse and named her A Real Work of Art, as a readymade. The project also involved having 50 statuettes of a jockey on a chestnut horse, which have been exposed in art galleries around the world. Subject genres Military and war Military art often depicts the horse in battle and provides some of the earliest examples of the horse in art, with cavalry, horse-drawn chariots, and horse archers all appearing on ancient artifacts. In the medieval period, cavalry battles and knights on horseback were portrayed by artists including Paolo Uccello and Albrecht Dürer. Uccello's tryptic The Battle of San Romano shows various stages of a battle. Dürer's engraving of "Knight, Death and the Devil", 1513 shows a military subject combined with an allegorical theme. Sir Alfred Munnings was appointed as a war artist during World War I; he painted both the Canadian Cavalry Brigade and the Canadian Forestry Corps stationed in France. He considered his experiences with the Canadian units to have been among the most rewarding events of his life. Elizabeth Thompson, known as Lady Butler, was famed for her military art, especially Scotland Forever featuring a dramatic charge by the Royal Scots Greys. Horse racing Thoroughbred racing was an inspiration for Romantic and Impressionist artists of the 19th century. Théodore Géricault painted The Derby in 1821 during his stay in England. The Impressionist era coincided with the development of racing in France, Manet, Degas, and Toulouse-Lautrec all acquired a lasting fascination with racing. Manet showed the excitement and action of the race and Degas concentrated more on the moments before the start. Degas was intensely interested in Eadweard Muybridge's photographs of the horse in motion included in Muybridge's Animal Locomotion, and he copied them in chalk and pencil and used them for reference in his later work. Generations of artists before Muybridge had portrayed the horse in a 'rocking horse' gallop, with the horse portrayed with both front legs extended forward, and both hind legs extended rearwards. Much more realistic representations were possible after the event of photography and Muybridge's work, but that did not necessarily lead to the impression of movement in the artwork. Luard writing in 1921 compares the running action of an animal with the run and rhythm of an air in music, but the instantaneous moment recorded by a photograph as a detached chord with little meaning or context. George Stubbs and Alfred