Mares and Foals in a River Landscape - George Stubbs
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Beschreibung
A classic study of equine anatomy and form by George Stubbs, featuring mares and foals in a serene, open river setting.
George Stubbs is widely recognised for his scientific approach to animal anatomy, a discipline he pursued with rigour throughout his career. This work, part of his celebrated series depicting mares and foals, demonstrates his ability to combine anatomical precision with a composed, serene atmosphere. The horses are arranged across the foreground, their forms rendered with a smooth, controlled application of paint that defines musculature and coat texture without unnecessary flourish.
Stubbs often placed his subjects in open, simplified settings to ensure the viewer focuses entirely on the animals. Here, the river and the distant, low-lying hills provide a quiet backdrop that does not compete with the primary subjects. The large tree on the left acts as a framing device, grounding the composition and creating a sense of natural enclosure. The lighting is soft and even, typical of the British climate, which allows for subtle gradations of tone across the horses' flanks.
Unlike many of his contemporaries who favoured dramatic action, Stubbs preferred to capture his subjects in moments of stillness. The interaction between the mares and their offspring is observed with a clinical yet sympathetic eye. His work reflects the eighteenth-century interest in the classification of nature and the pride of the landed gentry in their bloodstock. By stripping away extraneous detail, Stubbs elevates the horse to a subject worthy of serious artistic study, moving beyond the conventions of mere sporting art. This print captures the clarity of his original technique, preserving the balance between the physical reality of the animals and the calm, expansive environment they inhabit.
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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
Mares and Foals in a River Landscape - 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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