13, 1990, p. 31, fn 8, N1 O83 + (HAAS) Also Available on line in JSTOR and Oxford University Press Journal data bases. George Stubbs: 'The Lion and Horse' Theme THREE subjects or themes were evidently of special and per-sistent concern to Stubbs. However, he soon tired of using copper as a support due to the restriction its use imposed on the size of works it was possible to produce.

Wedgwood seems to have hoped for a commercial success as suggested in his letter of 30 May 1779 (E26.18894) to Bentley where he discusses his progress in making larger tablets and writes: “If Mr Stubbs succeeds he will be followed by others to which he does not seem to have the least objection but rather wishes for it; and if the oil painters too should use them they may become a considerable object”. George Stubbs (1724-1806) was one of the greatest sporting artists of Georgian England. Stubbs was a skilled printmaker as well as painter, and this is probably the most famous of all his prints. 56-57, Sporting 2090 (YCBA Rare Books), Completing the picture, materials and techniques of twenty-six paintings in the Tate Gallery. 18, ND488 P25 (YCBA), Stubbs, an exhibition in honor of Paul Mellon : National Gallery of Art, 4 May-2 June 1985. , National Gallery of Art, Washington, D.C., 1985, pp. Walpole’s poem also throws light on the close relation between high-precision visual representations and the production of sublime affects. By using our website, you agree to the use of cookies as described in our, Looking for one of our artists or something from our Collection? The exotic character of Stubbs’ pictures was part of the attraction for Stubbs’ patrons—horse breeders, owners and admirers, they were fascinated with the exotic origins of the English thoroughbred. This is the first of sixteen paintings by the artist, including the Yale University Art Gallery’s version, to represent this theme. A white horse starts at the sight of the lion: to contemporaries of George Stubbs, this was the image most closely associated with him. This piece was done after Stubbs had seen a lion attacking a horse in Morocco. However, he soon tired of using copper as a support due to the restriction its use imposed on the size of works it was possible to produce. This image is not available to download. Allen, 1971), 72. Item 4, pp. XXXII, 1808), where it was positively identified as based on 'a fine enamel picture in possession of Mr. Stubbs's executrix'. Among those who grasped the importance of Stubbs’s new combination of sublimity and ‘surprising reality’ was the painter James Barry, a friend of Burke’s who discussed Stubbs’s work with their common friend, Dr Joseph Sleigh. “To judge from the number which survive, proof impressions (state I) of The Horse and Lion were issued in some quantity in 1767. [1] See lit., p. 18 Lion Attaching Horse by George Stubbs … Stubbs' output includes history paintings, but his greatest skill was in painting animals, perhaps influenced by his love and study of anatomy. Laid paper with emblem watermark. 18797) Wedgwood writes to Bentley “One or two of Mr. Stubbs tablets go into the kiln on Thursday next, but they are not large, about 22 x 17. Keep up to date with Tate events, exhibitions and news, unconfirmed: 705 x 1019 mm; frame: 885 x 1208 x 85 mm, Purchased with assistance from the National Heritage Memorial Fund, the Art Fund and the Friends of the Tate Gallery 1994, Tate owns three works from George Stubbs’s famous group of paintings representing the dramatic, support: 241 x 283 mm; frame: 514 x 560 x 74 mm, Purchased with assistance from the Friends of the Tate Gallery 1970, support: 692 x 1035 mm; frame: 897 x 1243 x 80 mm. George Clint also engraved and published a version of this print. Try our new search feature. 72-82, NJ18 St915 +P37 Oversize (YCBA), Ronald Paulson, Breaking and remaking, aesthetic practice in England, 1700-1820 , Rutgers University Press, New Brunswick, 1989, pp.

Whilst Tattersall believes this to have been the Lion Attacking a Stag (enamel on oval earthenware, 17 x 23, , loc. 59985, April 23, 1977, p. 13, Available online : Times Digital Archive Also available on Microfilm: Film An T482 (SML), Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, Issue no. However, a more exact repetition of the subject accompanied a memoir of the artist published in The Sportsman's Magazine (vol.

Nicholas Hall, ‘Fearful Symmetry: George Stubbs, Painter of the English Enlightenment’, in Nicholas H.J.

Download this artwork (provided by The Metropolitan Museum of Art).

Hall (ed. Exhibited C., p. 96-7) which is signed and dated 1778, he was not aware of the existence of the present work and it is not clear how many other tablets may have survived these early firings. George Stubbs ARA,

15,18,19, figs.18,20,55,85, ND1383 G7 V57 2007 + OVERSIZE (YCBA), Malcolm Cormack, George Stubbs in the collection of Paul Mellon, a memorial exhibition , Yale Center for British Art, New Haven, Conn., 1999, pp. Later correspondence suggests that this collaboration was intended to be very much in the interest of both parties. By Appointment. For his own part, like many of his contemporaries who were greatly given to experimenting with different media and techniques, Stubbs appears to have been searching for the ideal means of ensuring that his art should speak to future generations. 182, April 1977, p. 287, N1 A54 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)], Stephen Deuchar, Sporting art in eighteenth-century England, a social and political history , Yale University Press, New Haven, 1988, p. 151, N8250 D48 (YCBA), Diana Donald, Picturing animals in Britain, 1750-1850, Yale University Press, New Haven, 2007, pp. ), The Art of the Sublime, Tate Research Publication, January 2013, https://www.tate.org.uk/art/research-publications/the-sublime/aris-sarafianos-sublime-action-george-stubbss-lion-and-horse-series-r1129551, accessed 10 October 2020. 111-14, N7660 .E57 2013 (YCBA), Jean Louis Ferrier, L'Aventure de l'art au XIXe siècle, Chêne Hachette, Paris, 1991, p. 68, N6450 A94 1991 (YCBA) +, John Fletcher, Deer in British sporting art, Essays of Friends of British Sporting Art, no. The Metropolitan Museum of Art New York City, United States. 72-73. Walpole was convinced that the dramatic charge and extreme viewing effects required by the sublime could not be produced without Stubbs’s unprecedented talent for visual simulations.

From 1762, the Lion and Horse theme preoccupied the artist for over thirty years, during which he developed different episodes of the cycle with numerous variations. But, inversely, Burke had also acknowledged that in its domesticated, subjugated and ‘useful’ existence, the horse ‘has nothing of the sublime’. 335, ND466 V57 v.1-2 (YCBA), Malcolm Warner, Stubbs & the Horse, Yale University Press, New Haven and London, 2004, p. 111, NJ18 St915 W37 (YCBA). 5, 6, NJ18 St915 G55 (HAAS), Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 62, ND466 G67 (YCBA), E. Landseer Grundy, Animal Painters Past and Present, Magazine of Art, Vol.

389-90, N1 M34+ (YCBA), Nicholas H. J. Condition: Generally very good with the usual overall light toning, wear, soft creases, and printers creases. Walpole replicated in writing the contractile physicality of the viewing experience associated with the sublime in accordance with the same maximalist vocabulary of fibres and sinews and the very neuro-physiological language of affect that Burke had used to describe the embodied sensation of the sublime.

95, No. His most famous painting, Whistlejacket, hangs in the National Gallery, London. 19, 1991, p. 31, N852 M25 A25 +Oversize (LSF) Available Online (Orbis), David Piper, The genius of British painting, Weidenfeld and Nicolson, London, 1975, p. 178, ND461 G45 (YCBA) +. 63-67, N1 C75+ (YCBA), T. N., Memoirs of George Stubbs, Esq. 60, NJ18 St915 E43 (YCBA) +. In this way Stubbs took the previously disregarded genre of animal painting and imbued it with the elevated characteristics of history painting and landscape.The inspiration for Stubbs’ horse and lion pictures appears to have come from both art and nature. However, in terms of immortality, Stubbs did perhaps achieve his aim. Hall, Fearful symmetry, George Stubbs, painter of the English Enlightenment , Hall & Knight Ltd., New York, 2000, pp. He also taught drawing at Christ’s Hospital.

Stubbs had been experimenting with enamel on copper since 1769 and first exhibited an example in 1770 with the Society of Artists, Lion Devouring a Horse (enamel on copper, Tate Gallery, London). When should this exhibition be published? Born: 25 August 1724 Stubbs served as president of the Society of Artists in 1773 and though he had his quarrels with the Royal Academy, he exhibited there periodically and was elected as an Associate in 1780. Moreover, Stubbs’s plotting and pictorial handling of the. 9, NJ18.St915 A1213 2012 + OVERSIZE (YCBA), Painting in England 1700-1850 from the Collection of Mr. and Mrs. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65., , Royal Academy of Arts, London, UK, 1964, p. 76 (v. 1), no. Email: [email protected] 59989, Thursday, April 28, 1977, p. 9, Available Online : Times Digital Archive Also available on Microfilm : Film An T842 (SML), Robin Blake, George Stubbs and the wide creation, animals, people and places in the life of George Stubbs, 1724-1806 , Chatto & Windus, London : Chatto & Windus, 2005, 2005, p. 151-52, 178, pl. Title: Horse Frightened by a Lion Creator: George Stubbs Date Created: 1777 Subject Keywords: animals, battles, horses, lions Signatures / Inscriptions: Signed in plate below image, center: “Geo: Stubbs” Print State: First of two states, with scratched letters Object Type: Prints, works of art Object Link: See this artwork on the Davison Art Center website B. Tattersall, exh.

Wedgwood’s hopes for commercial success were not to be realised. The Center has reopened on a limited basis. First or third state

The third phase shows the lion, having attacked the horse and leapt on to its back, sinking his teeth into its withers. 3923, May 20, 1977, p. 619, Film S748 (SML) Also avaiable online in TLS Historical Archive (ORBIS), Walter Shaw Sparrow, George Stubbs as a Painter of Big Game, Connoisseur, v. 96, no. ), Shipwreck, Self-preservation and the Sublime. the Celebrated Painter of Horses, The Sporting Magazine, vol.