"a naked green man astride a green horse"
Dale Fuchs has published an article, "For Spanish tapestries, a 21st-century makeover," in the International Herald Tribune on Spain's Real Fábrica de Tapices (Royal Tapestry Factory), which was founded in 1721 by King Philip V and which sounds like a fascinating institution.
What caught my attention was a reference to an image from a painting by Guillermo Pérez Villalta that one of the tapestry makers is weaving into a tapestry:
Consider, for instance, the tapestry in progress by the veteran craftsman José Antonio Carbajal. He is weaving a Pérez Villalta composition depicting a naked green man astride a green horse, which trots into a flat horizon of multicolored Delaunay-style circles.The "green man astride a green horse" could perhaps be a pictoral allusion to the the Green Knight in the Pearl Poet's story of Sir Gawain and the Green Knight, but the IHT article offers no information on that possibility. I'm guessing that the scene depicted above is a detail from a larger painting by Villalta that would reveal the green man mentioned by Fuchs.
Unfortunately, I don't know anything about Villalta. For those who read Spanish, that edition of Wikipedia provides some information, but the English Wikipedia has no entry on him. I did find via BNET a short review by Kim Bradley for Art in America, "Guillermo Perez Villalta at Soledad Lorenzo, Madrid, Spain" (1997):
Nowhere is the artist's fondness for the Byzantine more apparent than in Faz (The Holy Face). Set against a primarily golden background, this sinewy Pantocrator with veined, marblelike flesh sports a halo of zigzaggy hair and an elaborately linear mustache and beard. His elongated face and thin lips and nose are offset by large amber-colored eyes which fix their piercing gaze on the viewer. Perez Villalta often freely intermingles Christian subjects and symbols, such as the Crucifixion, with pagan themes, gods and monsters. In Creacion (Creation), which takes both Dionysus and the Good Shepherd as its main topics, a host of satyrlike creatures and winged angels with fish tails cavort in a peculiar wilderness. Flawlessly executed, the work evidences Perez Villalta's increasingly refined technical skills as well as his highly developed personal mythology.The free intermingling of "Christian subjects and symbols . . . with pagan themes, gods and monsters" recalls Medieval art and literature and might therefore suggest that Villalta has turned to artistic and literary sources from the Middle Ages. This intermingling is certainly consistent with the Arthurian story of Sir Gawain and the Green Knight.
Perhaps some reader happening upon this blog entry would also happen to know the answer -- or would at least be able to supply a link to Villalta's image of the "green man astride a green horse."