Goodnight, Veryl

Veryl Goodnight - Ready to Ride

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Veryl Goodnight - Ready to Ride

  • Bronze
  • Edition: 30
  • 24'' x 9'' x 9''
  • $4,200.00
  • VGReadyToRide
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Best of Show Winner at the 2011 "Cowgirl Up!" at the Desert Caballeros Western Museum in Wickenburg, AZ. "Women's rights, going from side saddles to riding astride, and the evolution to practical clothing went hand in hand during the late 1800s and early 1900s. Change, of course, doesn't happen overnight and is often measured in small increments. Confining corsets, long flowing dresses and sidesaddles kept women dependent. The split riding skirt was a major stepping stone toward independence. It allowed a woman to ride in a much more comfortable and safe position astride. When she dismounted, however, the front of the skirt could be buttoned closed to avoid offending those who were not yet enlightened. Photographs and artistic depictions in the early 1900s often showed very attractive women in large Stetson hats, and elaborate gauntlet gloves. There was a sense of romance in the clear western air and the women thrived on freedom from Victorian attitudes." - Veryl Goodnight Patina Description: "Ready to Ride" is patinaed with subtle variations of color. If you look at photos of my previous western women sculptures, it will help you visualize the patina. I do not "paint" the bronzes, but use variations of color to emphasize a change of material or texture. Note that I use the word "tinge" when describing colors. "Ready to Ride" lends itself to wonderfully subtle patina variations. The skin is a light golden brown. Her hair is brown with golden highlights. The hat and skirt are lighter and feel somewhat like felt and buckskin, which is achieved with a layering of chemicals. the blouse has a faint tinge of blue and the scarf a faint tinge of red. The gauntlet gloves are similar to the skirt and hat. It is difficult to see the embossed rose on the cuff of the gloves, but the rose also has a tint of red and a tint of green on the leaves." - Veryl Goodnight Published in Western Art Collector, July 2011, pages 35 and 149.