Gimcrack on Newmarket Heath, with a Trainer, a Stable lad, and a Jockey - George Stubbs
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Beschreibung
A detailed equestrian study by George Stubbs, capturing the racehorse Gimcrack on Newmarket Heath in a calm, observational style.
George Stubbs is widely recognised for his scientific approach to animal anatomy, a discipline he pursued with rigour throughout his career. This work depicts the famous racehorse Gimcrack, a grey stallion known for his speed and stamina, set against the expansive backdrop of Newmarket Heath. Stubbs captures the horse in two distinct moments: once being rubbed down by a stable lad near a building, and again in the distance, galloping with a jockey. This narrative device allows the viewer to observe the animal from multiple perspectives within a single frame.
The composition is defined by a sense of calm and order. The architecture on the left provides a vertical anchor, balancing the horizontal stretch of the heath. Stubbs employs a muted palette, typical of his mid-career works, which allows the subtle variations in the horse's coat and the soft light of the sky to take precedence. The figures are rendered with precision, reflecting the artist's interest in the social hierarchy of the racing world, from the trainer standing in attendance to the jockey in the distance.
Stubbs spent considerable time dissecting horses to understand their musculature and skeletal structure. This anatomical knowledge informs the way he paints the horse, ensuring that the proportions and movement appear natural. The painting avoids unnecessary drama, opting instead for a clear, observational style that documents the reality of eighteenth-century horse racing. The sky occupies a significant portion of the canvas, creating a sense of openness and atmosphere that complements the quiet activity of the scene. This piece remains a primary example of Stubbs's ability to combine technical accuracy with a composed, observational aesthetic, providing a window into the sporting culture of the period.
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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
Gimcrack on Newmarket Heath, with a Trainer, a Stable lad, and a Jockey - 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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