Pavian and Albino Makake - George Stubbs
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Beschreibung
A detailed study of a mandrill and an albino macaque by the renowned British animal painter George Stubbs.
George Stubbs is widely recognised for his meticulous anatomical studies and his ability to capture the physical presence of animals. While he is most famous for his paintings of horses, his interest in zoology extended to exotic species, often observed in private menageries or through scientific collections of the eighteenth century. This work depicts two primates, a mandrill (pavian) and an albino macaque, rendered with the artist's characteristic attention to texture and form.
The composition is stark and focused. The mandrill stands in a semi-upright posture, holding a staff, which introduces a human-like quality to the animal. Its fur is painted with subtle gradations of tone, capturing the density of the coat against the dark, indistinct background. To the right, the albino macaque sits in a hunched position, its pale, almost translucent fur providing a sharp visual contrast to the darker tones of its companion. The lighting is directed to model the musculature and skeletal structure of the subjects, reflecting Stubbs's deep knowledge of comparative anatomy.
Stubbs approached these subjects with the same rigour he applied to his scientific publications, such as 'The Anatomy of the Horse'. He avoids anthropomorphising the animals through sentimentality, preferring instead to document their physical reality. The dark, atmospheric background ensures that the viewer's attention remains fixed on the biological differences between the two creatures. This print captures the precise brushwork and the muted, earthy palette that define Stubbs's approach to animal portraiture. It is a study of form, texture, and the natural world as understood through the lens of Enlightenment-era observation.
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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
Pavian and Albino Makake - 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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