An Introduction to an Unconventional Master
George Stubbs stands as a unique and towering figure in the annals of British art. Active during the vibrant 18th century, a period dominated by portraitists like Sir Joshua Reynolds and Thomas Gainsborough, Stubbs carved a distinct niche for himself, becoming arguably the most accomplished painter of animals, particularly horses, that Britain has ever produced. Born in Liverpool on August 24, 1724, and passing away in London on July 10, 1806, his long life spanned a period of significant intellectual and artistic change, bridging the rationalism of the Enlightenment with the burgeoning sensibilities of Romanticism. Stubbs was more than just a painter; he was a dedicated scientist and anatomist, whose rigorous studies informed his art, lending it an unprecedented degree of accuracy and realism. His legacy is built upon this extraordinary fusion of artistic talent and scientific inquiry, a combination that set him apart from his contemporaries and continues to fascinate audiences today.
Early Life and the Seeds of Self-Reliance
George Stubbs's origins were relatively modest. His father, John Stubbs, was a currier and leather-seller in Liverpool. From a young age, George displayed a keen interest in anatomy, a fascination that would become the bedrock of his artistic practice. Information about his earliest training is sparse, suggesting he was largely self-taught. Following his father's death around 1741, the young Stubbs briefly worked in the family trade before pursuing his artistic inclinations more formally.
He is known to have had a short, and reportedly unsatisfactory, apprenticeship with a Lancashire painter and engraver named Hamlet Winstanley. Stubbs found Winstanley's method of teaching – primarily copying other works – unconducive to his own empirical approach to learning. Dissatisfied, he left Winstanley's tutelage after only a few weeks, resolving to learn directly from nature. This early assertion of independence and preference for direct observation over academic convention would characterize his entire career. For the next decade or so, he honed his skills as a portrait painter in the North of England, working in cities like Wigan, Leeds, and York, gradually building a reputation.
The Anatomical Quest
Stubbs's passion for anatomy intensified during his time in York around the mid-1740s. He studied human anatomy, possibly attending lectures by the surgeon Charles Atkinson at York County Hospital, and even provided illustrations for a textbook on midwifery by Dr. John Burton, published in 1751. This early foray into anatomical illustration demonstrated his meticulous draftsmanship and scientific curiosity. A trip to Italy in 1754, ostensibly to reinforce his conviction that nature, not classical art, was the ultimate source of inspiration, further solidified his path. Unlike many contemporaries who revered the works of Renaissance masters like Raphael or the classical sculptures of antiquity, Stubbs seemingly returned more committed than ever to his own empirical methods.
The pivotal moment in Stubbs's career came after his return from Italy and subsequent move to a remote farmhouse in Horkstow, Lincolnshire, around 1756. It was here that he embarked on an arduous and highly unconventional project: the complete anatomical dissection and illustration of the horse. For approximately eighteen months, assisted by his common-law wife, Mary Spencer, Stubbs painstakingly dissected numerous equine carcasses. He developed a system involving tackles and hooks to suspend the bodies, allowing him to peel back layers of muscle and tissue, meticulously drawing each stage. This solitary, physically demanding, and somewhat macabre undertaking was driven by an intense desire for accurate knowledge. Neighbors reportedly found his activities unsettling, deeming the dissection of animals vulgar, but Stubbs remained undeterred.
The Anatomy of the Horse: A Landmark Achievement
The culmination of his Lincolnshire studies was the publication in 1766 of The Anatomy of the Horse. This groundbreaking volume contained eighteen plates etched by Stubbs himself, showcasing the skeletal structure and musculature of the horse with unparalleled clarity and precision. The book was a monumental achievement, immediately recognized as the definitive work on the subject. It became an indispensable reference not only for artists seeking to depict horses accurately but also for veterinarians, breeders, and scientists. Its influence was profound and long-lasting, cementing Stubbs's reputation as a master anatomist and elevating the genre of animal painting. The scientific rigor evident in The Anatomy of the Horse distinguishes Stubbs's work from that of many earlier animal painters, placing him closer in spirit to the anatomical investigations of Renaissance figures like Leonardo da Vinci, though focused specifically on the equine form.
Artistic Style: Precision Meets Poetry
Armed with his profound anatomical knowledge, Stubbs moved to London around 1759 and quickly established himself as the preeminent painter of horses. His style is characterized by a remarkable blend of scientific accuracy and artistic sensitivity. Unlike some contemporaries whose animal depictions could be stiff or generalized, Stubbs rendered his subjects with an intimate understanding of their underlying structure, capturing the subtle play of muscles beneath the skin, the precise articulation of joints, and the individual character of each animal.
His compositions are often marked by classical principles of balance and harmony, frequently setting his subjects against serene, subtly rendered landscapes or, in some striking instances, plain, neutral backgrounds that focus attention entirely on the animal itself. He possessed a masterful control of light and shadow, using it to model form and create a sense of volume and presence. While rooted in the empirical observation championed by the Enlightenment, his work also contains elements that foreshadow Romanticism. He could imbue his animal subjects with a sense of dignity, vitality, and even emotion, moving beyond mere anatomical representation to capture their spirit. This blend of naturalism and nascent Romantic sensibility is a key feature of his unique artistic identity.
Masterworks of Equine Art
George Stubbs's oeuvre includes numerous masterpieces, many commissioned by the aristocratic patrons who dominated the world of horse racing and breeding in 18th-century England. Perhaps his most famous single painting is Whistlejacket (1762), now housed in the National Gallery, London. Commissioned by the Marquess of Rockingham, this life-sized portrait depicts the celebrated racehorse rearing against a plain, Fawn-coloured background. The absence of landscape or rider focuses the viewer's entire attention on the magnificent animal, showcasing its power, grace, and anatomical perfection. The painting is a tour de force of observation and technique, capturing the horse's gleaming coat, rippling muscles, and fiery spirit with breathtaking realism.
Another significant work, or rather series of works, is Mares and Foals. Stubbs painted several variations on this theme, often depicting groups of horses grazing peacefully in idyllic landscapes (e.g., Mares and Foals in a Landscape, c. 1763-68, Tate Britain). These paintings showcase his ability to handle complex group compositions, differentiate individual animals, and create a sense of pastoral tranquility. They reflect the deep affection and respect the English aristocracy held for their bloodstock, rendered with Stubbs's characteristic elegance and anatomical fidelity.
Exploring the Wild: Lions, Tigers, and Exotic Beasts
While horses remained his primary subject, Stubbs's artistic and scientific curiosity extended to a wide range of other animals, including exotic species that were becoming known in Britain through exploration and private menageries. He frequently visited these collections to observe creatures like lions, tigers, monkeys, rhinoceroses, and even a moose and a cheetah. His depictions of these animals are rendered with the same anatomical precision and attention to detail as his horses.
A recurring and powerful theme in Stubbs's work is the confrontation between a lion and a horse. He painted this subject at least seventeen times in various media, including the dramatic A Horse Frightened by a Lion (1770). These works explore primal themes of fear, power, and the violence inherent in nature. They possess a raw energy and psychological intensity that aligns them with the emerging Romantic movement, capturing the sublime terror that fascinated artists like Salvator Rosa and would later be explored by French Romantics. The exact inspiration for this theme is debated – some suggest an encounter witnessed during his trip to Italy, others point to classical sources – but its repeated exploration highlights Stubbs's interest in animal behaviour and dramatic narrative.
Other notable works featuring exotic animals include Cheetah with Two Indian Attendants and a Stag (c. 1764-65, Manchester Art Gallery), which records the arrival of a cheetah sent as a gift to King George III, and The Rhinoceros (c. 1790-91), based on studies of an animal exhibited in London. These paintings demonstrate his versatility and his commitment to representing the natural world in all its diversity.
Rural Life and Human Figures
Beyond the animal kingdom, Stubbs also turned his attention to scenes of rural life and, less frequently, to human portraiture and historical subjects. Works like Haymakers (1785) and Reapers (1785), often painted as a pair, depict agricultural labourers with a quiet dignity and realism. These paintings, sometimes executed in enamel on ceramic plaques developed in collaboration with the potter Josiah Wedgwood, offer a glimpse into the English countryside and its working inhabitants. While perhaps less dynamic than his animal studies, they possess a calm solidity and careful observation. His paintings The Cart Horses and depictions of foxhounds, such as Couple of Foxhounds (1792, Tate), further illustrate his engagement with rural themes and different types of working animals.
Although primarily known for animals, Stubbs continued to paint human portraits throughout his career. His anatomical knowledge extended to the human form, though these works generally receive less attention than his animal paintings. His son, George Townson Stubbs, also became an artist and engraver, often reproducing his father's works, carrying forward the family's artistic legacy.
Stubbs and His Contemporaries
George Stubbs occupied a somewhat unique position within the London art world. While he exhibited regularly at the Society of Artists and later at the Royal Academy of Arts for nearly three decades (from 1775 onwards), his relationship with the latter institution was complex. He was elected an Associate of the Royal Academy (ARA) in 1780, but his election to full Academician (RA) status lapsed in 1781 because he refused to submit a 'diploma work' as required by the Academy's statutes. The reasons for this refusal remain unclear but suggest a certain independence or perhaps disagreement with the Academy's hierarchy or artistic priorities, which often favoured historical painting above other genres. He seems to have remained somewhat detached from the internal politics of the RA, unlike central figures such as its president, Sir Joshua Reynolds, or the American-born history painter Benjamin West.
His closest artistic friendship appears to have been with the miniaturist and portrait painter Ozias Humphry. Humphry compiled extensive notes based on conversations with Stubbs, forming an invaluable, though informal, biographical account that is now preserved in Liverpool. These notes provide insights into Stubbs's working methods, his dedication to anatomy, and his views on art. Humphry himself moved in artistic circles, having studied in Italy alongside George Romney and copied works by masters like Raphael, indicating the broader artistic context in which Stubbs operated.
Comparisons are sometimes drawn between Stubbs and his contemporary animal painter Sawrey Gilpin. While both specialized in animal subjects, particularly horses, Stubbs's work is generally considered superior in anatomical accuracy due to his rigorous dissections. Gilpin, however, was highly regarded for capturing movement and elegance, and he frequently collaborated with landscape painters like George Barret and even the great J.M.W. Turner, as well as the portraitist Johann Zoffany, by adding animals into their compositions. There is no record of direct collaboration or specific interaction between Stubbs and Gilpin, suggesting they may have been professional rivals operating in the same specialized market.
Influence and Enduring Legacy
During his lifetime, Stubbs enjoyed considerable patronage from wealthy landowners and sportsmen eager to have their prized horses immortalized. However, his reputation perhaps suffered from the traditional art establishment's lower valuation of animal painting compared to history painting or portraiture. Despite the immediate success of The Anatomy of the Horse, his broader artistic significance was not fully appreciated by all his contemporaries.
His influence, however, extended beyond Britain and into the next century. The power and realism of his animal depictions, particularly the dramatic Lion Attacking Horse series, resonated with French Romantic painters. Théodore Géricault, famous for The Raft of the Medusa and his own passionate depictions of horses, admired Stubbs's work, as did Eugène Delacroix, another leading figure of French Romanticism known for his dynamic and emotionally charged animal scenes. Stubbs's fusion of anatomical truth with dramatic intensity provided a powerful model for artists exploring themes of nature, struggle, and the sublime. Later British animal painters, such as Sir Edwin Landseer, also owed a debt to the tradition of realistic animal portrayal that Stubbs had so masterfully advanced.
Stubbs's reputation underwent a significant revival in the 20th century, largely thanks to the enthusiasm of collectors and art historians who recognized the unique quality of his work. The American collector Paul Mellon was particularly instrumental, assembling a major collection of Stubbs's paintings and drawings, which helped to re-establish his importance on the international stage. Today, George Stubbs is widely regarded as one of the most original and accomplished artists of 18th-century Britain. His work is celebrated not only for its aesthetic beauty and technical brilliance but also for its remarkable synthesis of art and science. His dedication to empirical observation, his profound understanding of anatomy, and his ability to capture the vitality and spirit of his subjects ensure his enduring relevance and appeal. His paintings and his seminal anatomical work remain a testament to a singular vision that bridged the worlds of the artist's studio and the scientist's laboratory.
