Five Brood Mares - George Stubbs
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Beschreibung
A precise and calm study of five horses in a parkland setting, painted by the renowned animal anatomist George Stubbs.
George Stubbs, a painter known for his scientific approach to animal anatomy, produced Five Brood Mares in 1774. This work depicts five horses in a parkland setting, arranged with a sense of calm order beneath a large, central tree. The composition relies on the horizontal spread of the animals across the foreground, creating a balanced visual rhythm. Stubbs uses a muted palette of earth tones, ochres, and soft greens to unify the figures with the background.
The artist spent years dissecting horses to understand their musculature and skeletal structure. This technical knowledge informs the way he renders the animals, ensuring each horse possesses a distinct physical presence and anatomical accuracy. Unlike many of his contemporaries who painted horses in dramatic, active poses, Stubbs chooses a quiet, observational mode. The horses graze or stand still, allowing the viewer to examine their forms without the distraction of movement.
The lighting in the painting is soft and diffuse, typical of the English countryside. The large tree acts as a vertical anchor, providing shade and framing the white mare that stands near the centre. The background recedes into a gentle, hazy distance, which keeps the focus firmly on the horses. This painting remains a clear example of Stubbs's ability to combine rigorous observation with a composed, classical aesthetic. It is a work that values clarity and precision over sentimentality, reflecting the artist's dedication to the study of nature.
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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
Five Brood Mares - 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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