Jonathan Cohen's photos with the keyword: horses

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Mother Earth is a work created by the organizers of the Mosaïcultures Internationales de Montréal competiton. From the woman’s torso arises her head: a mountain nearly 15 meters tall. Flowers garland her hair. Her outstretched arm places deer in the midst of a blooming prairie where horses run free and bison graze. From her other hand flows a waterfall from which a golden eagle emerges. Mother Earth goes by many names: To South American Indians she is "Pachamama"; Greek mythology knows her as "Gaia"; she is "Terra Mater" in Roman myth, "Mahimata" in Hinduism’s Rig Veda. For the Germanic and other Northern peoples she is called "Eorban Modor" and "Mother Earth" is the name by which North America’s First Nations celebrated her. She is universal and transcends nationalities and the ages, from the Paleolithic to today. She is the basis for everything: living beings, plant life, minerals, textiles, technology, food. The artists were inspired by a speech reportedly delivered in 1854 by Chief Seattle during his meeting with then President of the United States Franklin Pierce on the occasion of the sale of Native land to white settlers. His words capture the essence of the privileged relationship our continent’s first inhabitants still maintain with nature: "The white man must treat the beasts of this land as his brothers … We are part of the Earth and it is part of us. The perfumed flowers are our sisters, the deer, the horse, the great eagle, these are our brothers. The rocky crests, the juices in the meadows, the body heat of the pony, and man, all belong to the same family … This shining water that moves in streams and rivers is not just water but the blood of our ancestors … The water’s murmur is the voice of my father's father … The air is precious to the red man, for all things share the same breath – the beast, the tree, man, they all share the same breath … What is man without the beasts? If all the beasts were gone, man would die from a great loneliness of the spirit. For whatever happens to the beasts, soon happens to man … Preserve the memory of this Earth as we deliver it. And with all your strength, your spirit and your heart, preserve it for your children and love it as God loves us all." Mother Earth also draws its inspiration from the Declaration of Interdependence written in 1992 by David Suzuki for the UN Earth Summit held in Rio de Janeiro that same year. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Hope (the colt) and Odyssey (the mare) are not, strictly speaking, mosaiculture pieces Rather, they are representative of a new trend, that of so-called ecological works: creations with an often ephemeral quality, made from organic materials and inspired by nature. They are the work of Heather Jansch, an English artist who is well-known for her life-size sculptures of horses fashioned from driftwood. Passionnate about both drawing and horses, she carefully selects the branches of wood that go into her sculptures so as to avoid the need to cut or otherwise alter them while still creating the desired effect. She can devote more than half a year to a single piece. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Montreal's contribution to the mosaiculture competition consisted of 10 different statues: a solitary figure about 5 metres high stoops to plant a sapling; a furry dog covered in wild grass sits by his side; horses and woolly sheep covered in thyme graze nearby. This installation, which covers 2,000 square meters, consists of more than 500,000 individual plants and flowers. It required several months of work to complete. The figures illustrate a short story entitled "The Man Who Planted Trees" (in French: "L’homme qui plantait des arbres"), an allegorical tale by French author Jean Giono, published in 1953. The tale is quite short – only about 4000 words long. It was composed in French, but first published in English. The story begins in the year 1910, when a young man is undertaking a lone hiking trip through Provence, France, and into the Alps, enjoying the relatively unspoiled wilderness. The narrator runs out of water in a treeless, desolate valley where only wild lavender grows and there is no trace of civilization except old, empty crumbling buildings. The narrator finds only a dried up well, but is saved by Elzéard Bouffier, a middle-aged shepherd, who takes him to a spring he knows of. Curious about this man and why he has chosen such a lonely life, the narrator stays with him for a time. The shepherd, after being widowed, has decided to restore the ruined landscape of the isolated and largely abandoned valley by single-handedly cultivating a forest, tree by tree. He makes holes in the ground with his curling pole and drops into the holes acorns that he has collected from many miles away. The narrator leaves the shepherd and returns home, and later fights in the First World War. In 1920, shell-shocked and depressed after the war, he returns. He is surprised to see young saplings of all forms taking root in the valley, and new streams running through it where the shepherd has made dams higher up in the mountain. The narrator makes a full recovery in the peace and beauty of the regrowing valley, and continues to visit Bouffier every year. Bouffier is no longer a shepherd, because he is worried about the sheep affecting his young trees. He has become a bee keeper instead. Over four decades, Bouffier continues to plant trees, and the valley is turned into a kind of Garden of Eden. By the end of the story, the valley is vibrant with life and is peacefully settled. The valley receives official protection after the First World War and more than 10,000 people move there, all of them unknowingly owing their happiness to Bouffier. The narrator visits the now very old Bouffier one last time in 1945. In a hospice in Banon, in 1947, the man who planted trees peacefully passes away. The story was adapted as an short animated film by Frédéric Back and released in 1987. It earned a number of awards including an Academy Award for Best Animated Short Film. Back's animations provided the inspiration for the sculptures on display at the Botanical Garden. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

Montreal's contribution to the mosaiculture competition consisted of 10 different statues: a solitary figure about 5 metres high stoops to plant a sapling; a furry dog covered in wild grass sits by his side; horses and woolly sheep covered in thyme graze nearby. This installation, which covers 2,000 square meters, consists of more than 500,000 individual plants and flowers. It required several months of work to complete. The figures illustrate a short story entitled "The Man Who Planted Trees" (in French: "L’homme qui plantait des arbres"), an allegorical tale by French author Jean Giono, published in 1953. The tale is quite short – only about 4000 words long. It was composed in French, but first published in English. The story begins in the year 1910, when a young man is undertaking a lone hiking trip through Provence, France, and into the Alps, enjoying the relatively unspoiled wilderness. The narrator runs out of water in a treeless, desolate valley where only wild lavender grows and there is no trace of civilization except old, empty crumbling buildings. The narrator finds only a dried up well, but is saved by Elzéard Bouffier, a middle-aged shepherd, who takes him to a spring he knows of. Curious about this man and why he has chosen such a lonely life, the narrator stays with him for a time. The shepherd, after being widowed, has decided to restore the ruined landscape of the isolated and largely abandoned valley by single-handedly cultivating a forest, tree by tree. He makes holes in the ground with his curling pole and drops into the holes acorns that he has collected from many miles away. The narrator leaves the shepherd and returns home, and later fights in the First World War. In 1920, shell-shocked and depressed after the war, he returns. He is surprised to see young saplings of all forms taking root in the valley, and new streams running through it where the shepherd has made dams higher up in the mountain. The narrator makes a full recovery in the peace and beauty of the regrowing valley, and continues to visit Bouffier every year. Bouffier is no longer a shepherd, because he is worried about the sheep affecting his young trees. He has become a bee keeper instead. Over four decades, Bouffier continues to plant trees, and the valley is turned into a kind of Garden of Eden. By the end of the story, the valley is vibrant with life and is peacefully settled. The valley receives official protection after the First World War and more than 10,000 people move there, all of them unknowingly owing their happiness to Bouffier. The narrator visits the now very old Bouffier one last time in 1945. In a hospice in Banon, in 1947, the man who planted trees peacefully passes away. The story was adapted as an short animated film by Frédéric Back and released in 1987. It earned a number of awards including an Academy Award for Best Animated Short Film. Back's animations provided the inspiration for the sculptures on display at the Botanical Garden. For a description of the art of Mosaiculture and of the Mosaïcultures Internationales de Montréal competition, please turn to the first photo in this series at: www.ipernity.com/doc/jonathan.cohen/33872015

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