Book Description

Yale University Press is pleased to announce a new exclusive publishing agreement with the Kimbell Art Museum

An exquisite book that celebrates the central subject in the work of George Stubbs, whom many consider to be the greatest painter of horses in the history of art

A versatile genius whose oeuvre includes paintings, engravings, and detailed anatomical studies, George Stubbs (1724–1806) was fascinated by horses. This handsome book presents for the first time the wide range of his equine imagery, from refined portraits of racehorses to violent scenes of horses attacked by lions in the wild.

Taking full account of the associations and status of the “noble horse” in eighteenth-century Britain and the colorful world of its devotees—both high and low—the authors examine Stubbs’s work from different points of view and offer many fresh interpretations. Malcolm Warner discusses how horses were regarded in Britain in Stubbs’s time, the unexpected connection between his horse-and-lion compositions and the creation of the English thoroughbred, and his classicism. Robin Blake examines the young Whig noblemen who were Stubbs’s first patrons, the grooms, jockeys, trainers, and other attendants who appear in his horse portraits, and his curious dealings with the Prince of Wales. The book also includes an essay by conservators Lance Mayer and Gay Myers on Stubbs’s experiments with wax and enamel.

For admirers of Stubbs’s art, eighteenth-century English painting, and horses, this book is an essential addition to their bookshelves.

Stubbs and the Horse is the catalogue for the first major exhibition on the artist in more than twenty years. It is on view at the Kimbell Art Museum, Fort Worth (November 14, 2004, to February 6, 2005); the Walters Art Museum, Baltimore (March 13 to May 29, 2005); and the National Gallery, London (June 29 to September 25, 2005).

Malcolm Warner, Senior Curator at the Kimbell Art Museum in Fort Worth, Texas, is the author of several books, including The Victorians: British Painting, 1837-1901 and Millais: Portraits; Robin Blake is an independent scholar based in London and is the author of a forthcoming biography on Stubbs; Lance Mayer and Gay Myers are consulting conservators based at the Lyman Allyn Art Museum in New London, Connecticut.

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Book Description

Though the English artist George Stubbs (1724-1806) was once dismissed as "merely" an animal painter, his familiar subjects--racehorses, lions, and scenes of gentlemanly hunting and shooting--are highly popular today. This detailed study of Stubbs's work reaffirms his importance and reveals him to be a progressive artist whose concerns with both scientific discovery and art history set him at odds with the artistic establishment of his day. ... Read more

Book Description

This digital document is an article from New Criterion, published by Foundation for Cultural Review on September 1, 1999. The length of the article is 2519 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Summer in the city's museums.(Critical Essay)
Author: Mario Naves
Publication: New Criterion (Magazine/Journal)
Date: September 1, 1999
Publisher: Foundation for Cultural Review
Volume: 18Issue: 1Page: 49

Article Type: Critical Essay

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Book Description

Known in his life as "Mr. Stubbs the horse painter", it is only in the last fifty years that the art world has rejected this derogatory assessment of this versatile painter, illustrator, engraver, and outstanding chronicler of nature. Lavish illustrations - covering the full range of his work from the celebrated horse images to portraits, paintings of wild animals, anatomical engravings and experimental work on ceramics- reveal the artist's genius and show why he can rightfully stand beside Turner and William Blake as an artist sure of his own particular vision. ... Read more

Reviews (3)

Interesting
Hi! Wierdly enough my name is Venetia Morrison, I live in Devon and this book was given to me as a birthday present, I too love horses and have been riding since 2.I really enjoy The Art of Geroge Stubbs.It was put together very nicely and the pictures are fantastic, Let me know if you are thinking of writting any more books to do with him!!!
Your sincerely,
Venetia

Overview of works by George Stubbs and excellant read...
Being an equine artist professionally myself, I purchased this book for my collection and have used it as a source in my MFA Thesis.Not only is the book superbly illuminated with many full page color plates and detail shots of individual paintings, but also goes fairly in debth into the artist's life, working methods, restoration of his works, information about his clients, the horses he painted, and their owners.George Stubbs is also cited as a fine portrait painter of people, as well as other animal studies, with examples of these works and mythological themes depicted through the evolution of his pieces. The back portion of the book is a delightful section that shows images both by other artists predating his time doing simular work, his contemporaries working at the same time, as well as artists later influeneced by George Stubbs.This book is a fine addition to anyone's library, whether you be an admirer of horses, or a serious student of art history.

Beautiful!
As a Stubbs fan, I love the variety of work presented in this book; it ranges from the anatomical references to portraits to the more familiar sporting art to mythologically influenced pieces.It also includes asection on how Stubbs influenced later artists.

Throughout the art isenhanced by the author's words.The back flap explains that she hasconsiderable equine experience; however there is one very noticeable gafe. When describing the painting featured on the cover of the book, (also foundon the front endsheet and within) the author states that the chestnutArabian is "badly marked with unsightly white spots.These spots showthat, in the past, the horse has had severe saddle sores....It seemsextraordinary that these valuable animals should have been exposed to suchpoor management."These statements are made in error.The horse inquestion displays the characteristics of a form of overo pinto calledsabino.It is fairly common in chestnut Arabians of the present day, andthe horse in question's high stockings and white lower lip, present withthe body spots, undoubtedly make him a sabino.Therefore the spots are notsaddle sores but rather pinto markings that were part of him since birth. An experienced equestrian should know better. ... Read more

Book Description

This digital document is an article from New Statesman (1996), published by New Statesman, Ltd. on July 19, 1996. The length of the article is 30726 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: 'Whistlejacket' was completed in 1762, and was intended to be a part of a composite scene commissioned by the Marquess of Rockingham. For reasons now unknown, the scene was never added. An essay examines the magnificent horse in modern animal rights movement terms, and finds the movement wanting.

Citation Details
Title: Painting: Stubbs gives full rein to his mastery of the Horse.(George Stubb's 'Whistlejacket,' National Gallery, London, england)
Author: Tom Lubbock
Publication: New Statesman (1996) (Magazine/Journal)
Date: July 19, 1996
Publisher: New Statesman, Ltd.
Volume: v125Issue: n4293Page: p39(1)

Article Type: Biography

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Book Description