William Anderson with two saddle-horses - George Stubbs
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Beschreibung
A precise equestrian portrait by George Stubbs, featuring William Anderson with two horses in a calm, open setting.
George Stubbs, a master of animal anatomy, produced this work in 1793. The painting depicts William Anderson, a groom, accompanied by two saddle-horses. Stubbs is widely recognised for his scientific approach to painting horses, a skill he developed through years of dissection and anatomical study. This background allowed him to capture the musculature and movement of the animals with precision.
The composition is characteristic of Stubbs's style, featuring a clear, open space that allows the subjects to occupy the frame without distraction. The horses are rendered with a focus on their physical form, showing the subtle tension in their limbs and the texture of their coats. Anderson, dressed in a red riding coat, sits atop one horse while leading the other. His posture is calm, reflecting the controlled environment of the scene.
The background is a muted, expansive sky that meets a low horizon line. This choice of setting directs the viewer's attention to the figures in the foreground. The light is soft and even, avoiding dramatic shadows to ensure that every detail of the horses' anatomy remains visible. The palette consists of earthy browns, soft ochres, and a pale, atmospheric blue, which creates a sense of calm and order.
Stubbs's work often bridged the gap between scientific documentation and fine art. By focusing on the specific traits of the animals, he provided a record of the breeds popular in eighteenth-century Britain. This piece is a clear example of his ability to balance the technical requirements of portraiture with a naturalistic representation of his equine subjects. The work remains a primary example of British sporting art, reflecting the period's interest in the relationship between humans and their animals.
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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
William Anderson with two saddle-horses - 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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