Self-trained, Stubbs learnt his skills independently from other great artists of the eighteenth century such as Reynolds or Gainsborough. GEORGE STUBBS (1742-1806) The quality of this painting lifts it out of the equestrian genre and elevates it to the status of portraiture. One of his earliest surviving works is a set of illustrations for a textbook on by John Burton, Essay towards a Complete New System of Midwifery, published in 1751. Whistlejacket, George Stubbs (1762) Jonathan Jones .

It was the horses that demanded Stubbs' attention and any background, although brilliantly executed with superb skill, was of secondary importance.

Did Stubbs encode a reversal of this motif, in which the lion of England takes a signally savage revenge?”. Self-trained, Stubbs learnt his skills independently from other great artists of the eighteenth century such as Reynolds or Gainsborough. Whistlejacket or "Whistlejacket" — this is a portrait of a beloved British racehorse, created Stubbs in 1762.

Picture made by order of the second Marquis of Rockingham — the owner of the horse, through which he won the 2,000 guineas (about 100 thousand pounds to date) in the race for four miles at York in 1759. Stubbs cleverly incorporates the horses into the landscape by using a subtle counter-change of tones to integrate them with the background: he contrasts the light profile of the white horse against a dark cloud in order to counterbalance the dark profiles of chestnut mares against the light sky. Still just as popular as when he was first alive, lets look at eight interesting facts about this revered artist. It took Stubbs eighteen months to finish his drawings and notes but, on completion he could not find a publisher. George Stubbs and spent 18 months dissecting horses, assisted by his common-law wife, Mary Spencer. His earliest In a short period of time he had earned enough from the commissions of various lords and dukes to buy a house in Marylebone, a prominent part of London, where he remained for the rest of his life. Learning the muscling, tissue and structure beyond what was visible of a live horse was vital to George Stubbs and his career. He is best remembered for his paintings of horses and his conversation pieces. Many think that his horse paintings without backgrounds are his greatest works. New content is added daily on social media and weekly features. I suspect, for example, that his obsessive reworking of the lion savaging a horse may have had its origin in a private idée fixe . This champion racehorse was owned by the 2nd Marquess of Rockingham who commissioned Stubbs to paint many of the horses in his stables. This work, appreciated by aristocrats for the care with which the natural figure of the horse was portrayed, led to commissions from nobility — particularly those in the (then newly established) Jockey Club. This may be an unfinished work or it could have been a study for the development of other paintings - you can see a similar configuration of horses in 'Mares and Foals in a River Landscape'. Whistlejacket or "Whistlejacket" — this is a portrait of a beloved British racehorse, created Stubbs in 1762.

Enter your email address to follow this blog and receive notifications of new posts by email. His 1772 painting of a kangaroo would have been the first exposure many Britons had to the animal, then seen as very unusual. This apprenticeship was however quite short lived — ending due to conflict over which pictures Stubbs would be allowed to practice copying. Another visceral image — that of a horse being attacked by a lion — became somewhat of a favourite of his, and he produced a number of works which focus on this theme. Born the son of a Liverpool currier, as a child Stubbs helped his father to prepare horse hides for the local tannery.

In 1756 he moved with Mary Spencer, his lifelong partner and assistant, to a remote farmhouse in Lincolnshire to begin work on 'The Anatomy of The Horse'. With a ready supply of cadavers from a nearby tannery, he suspended horses on hooks from the roof, positioning the animals in the poses he required. AOTH SAVES A Horse (Picking Back Up In Late 2019), AOTA SAVES An Animal (Picking Back Up In Late 2019). we’re on social media and instant messengers, "Nature is and has always been above art", "Mares and foals, frightened by the approaching thunderstorm", against the background of trees and water surface, Stories about the artist and his/her artworks, Mobile apps for galleries, museums and exhibition projects. In the 1770s he began to increasingly produce works of hounds and foxhunts, another passion of many aristocratic figures at the time. Find out more about the life and work of one of Britain's most famous sporting artists George Stubbs, the 18th-century British painter famed for his highly detailed and exquisite looking paintings of horses and other animals! Use this informative PowerPoint as part of an art project to explore his life and work. 'The Skeleton of a Horse' 1766 (engraving). Like many artists, he also tried his hand at painting historical events, but these enjoyed far less popularity in comparison to his paintings of animal subjects, and so he continued to focus primarily on the latter domain.

we’re on social media and instant messengers, Mobile apps for galleries, museums and exhibition projects. The scale (around 10 feet high) and pose is typical of an equestrian portrait without the rider.

After this 18 month period, he moved to London in around 1759, publishing his breakout work The Anatomy of the Horse in 1766. Picture made by order of the second Marquis of Rockingham — the owner of the horse, through which he won the 2,000 guineas (about 100 thousand pounds to date) in the race for four miles at York in 1759.