A Horse Frightened by a Lion - George Stubbs
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Beschreibung
A dramatic study of animal behaviour by George Stubbs, capturing the tension between a startled horse and a hidden lion.
George Stubbs, a master of animal anatomy, produced this work during a period of intense fascination with the theme of predator and prey. The composition captures a moment of high tension, where a white horse recoils in terror upon encountering a lion emerging from a rocky outcrop. Stubbs utilised his extensive knowledge of equine physiology, gained through years of dissection and study, to render the horse with anatomical precision. The animal's flared nostrils, arched neck, and tense musculature convey a visceral sense of panic.
The setting is deliberately theatrical, with dark, craggy rock formations framing the encounter. The contrast between the stark white coat of the horse and the deep, shadowed recesses of the cave creates a clear visual separation between the two figures. The lion, partially obscured by the darkness, remains a looming, ominous presence. This work reflects the eighteenth-century interest in the sublime, where the raw power of nature is presented as both beautiful and terrifying.
Stubbs painted several versions of this subject, indicating his preoccupation with the psychological reaction of the horse to its natural enemy. The lighting is carefully managed to guide the viewer's eye across the scene, from the illuminated horse to the hidden predator. The brushwork is controlled, allowing for the fine rendering of the horse's mane and the texture of the surrounding stone. This piece remains a primary example of Stubbs's ability to combine scientific observation with dramatic narrative, moving beyond simple animal portraiture into the realm of emotive storytelling. The lack of human presence in the scene forces the viewer to focus entirely on the primal interaction between the two beasts, heightening the sense of isolation and danger within the composition.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A Horse Frightened by a Lion - George Stubbs
Artist Biography
George Stubbs
He was born in Liverpool, the son of a currier (a leather worker). He was largely self-taught. In his twenties he spent eighteen months in a farmhouse in Horkstow, Lincolnshire, dissecting horses. He suspended the carcasses from the ceiling using hooks and pulleys, peeled back the layers of skin and muscle, and drew every stage. The results were published as The Anatomy of the Horse (1766), one of the most accurate anatomical studies ever produced by an artist. The book established his reputation.
His horse portraits are commissioned works: wealthy landowners wanted their racehorses painted. Stubbs obliged, but his understanding of equine anatomy gave the paintings a presence that other sporting painters could not match. Whistlejacket, a life-size portrait of a chestnut stallion rearing against a plain background, is among the most striking animal paintings ever made. There is no landscape, no rider, no context. Just the horse.
He also painted dogs, exotic animals (a zebra, a rhinoceros, a moose), and rural scenes with labourers and haymakers. He experimented with enamel painting on ceramic tablets made by Josiah Wedgwood. He was elected to the Royal Academy but refused to submit a diploma piece, which meant he was never made a full Academician. He died in 1806, at eighty-one.
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