Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Lady Reading in a Wooded Park - George Stubbs
Regulärer Preis
£28.00 GBP
Angebotspreis
£28.00 GBP
Regulärer Preis
Archival Pigmentdruck
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Beschreibung
A serene portrait by George Stubbs, depicting a woman reading in a quiet, sun-dappled woodland setting.
George Stubbs is widely recognised for his anatomical precision and his mastery of equine subjects, yet this work demonstrates his capability in portraiture set within a natural environment. The painting depicts a woman seated on a stone bench, absorbed in a book, positioned against a dense backdrop of mature trees. The light filters through the canopy, creating a contrast between the illuminated figure and the shadowed woodland.
Stubbs employs a controlled palette of earth tones, ochres, and deep greens to construct the setting. The figure is rendered with attention to the texture of her gown, which catches the light in a manner that suggests the influence of his scientific approach to observation. Unlike his more famous horse portraits, this piece focuses on the quietude of a private moment. The composition relies on the verticality of the tree trunks to frame the seated subject, drawing the eye toward the centre of the canvas where the reader sits.
This work reflects the eighteenth-century interest in the relationship between the individual and the natural world. The park setting provides a sense of seclusion, allowing the viewer to observe the subject in a state of contemplation. Stubbs avoids excessive ornamentation, preferring to let the interplay of light and shadow define the space. The brushwork remains disciplined, maintaining the clarity of form that characterises his broader body of work. By placing the figure in a wooded area, Stubbs creates a narrative of leisure and intellectual engagement, typical of the period's portraiture conventions. The painting remains a fine example of his ability to balance human subjects with the atmospheric qualities of the British countryside.
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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.
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Lady Reading in a Wooded Park - George Stubbs
Regulärer Preis
Ab £28.00 GBP
Angebotspreis
Ab £28.00 GBP
Regulärer Preis
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
George Stubbs
Stubbs painted a horse being attacked by a lion and it became the most reproduced image in eighteenth-century British art. He painted the subject at least seventeen times. He had never seen a lion attack a horse. He had seen a classical sculpture of the subject in Rome and decided it was worth repeating.
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.
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.
Unsere Funktionen
Entwickelt für nachhaltige Wirkung
Besondere Eigenschaften
Jedes Solis-Stück wird auf Bestellung mit archivtauglichen Materialien in Galeriequalität gefertigt, die für eine lange Lebensdauer ausgelegt sind.
- Giclée-Druck in Museumsqualität für satte, lichtbeständige Farben
- Mattes Fine-Art-Papier in Archivqualität, FSC-zertifiziert
- Mehrere Größen und Rahmenoptionen verfügbar
- Rahmen in Schwarz, Naturholz, dunklem Holz oder Weiß
- Gerahmte Drucke werden fertig zum Aufhängen geliefert
Pflege & Reinigung
Damit Ihr Kunstwerk optimal aussieht:
- Vorsichtig mit einem weichen, trockenen Tuch abstauben
- Längere direkte Sonneneinstrahlung vermeiden
- Niemals flüssige Reiniger auf Druck- oder Leinwandoberflächen verwenden
- An einem trockenen Ort bei Raumtemperatur aufbewahren
- Drucke mit sauberen, trockenen Händen anfassen
Material & Größe
Museums-Giclée-Druck auf FSC-zertifiziertem, archivbeständigem, mattem Papier, wahlweise mit Rahmen oder als Leinwand.
- Papierformate: A4, A3, A2, A1, A0 und B2 (50×70 cm)
- Leinwand: XS (20×30 cm) bis Large (60×90 cm)
- Rahmen: Schwarz, Naturholz, dunkles Holz oder Weiß
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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Museumsreife Materialien
Biografie des Künstlers
George Stubbs
Stubbs painted a horse being attacked by a lion and it became the most reproduced image in eighteenth-century British art. He painted the subject at least seventeen times. He had never seen a lion attack a horse. He had seen a classical sculpture of the subject in Rome and decided it was worth repeating.
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.
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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