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long-awaited treatise: The Anatomy of the Horse. It was immediately
hailed as the most accurate accounts of horse anatomy available at the
time and advanced the field of study considerably. But what really set
the book apart were Stubbs’ engraved illustrations, which cemented his
reputation as the foremost animal painter of his era.

I Heard You Paint Horses

By the time
Anatomy of the Horse
was published, George
Stubbs had already
cultivated a following
among wealthy horse
owners. Soon after
completing his draw-
ings, he moved to
London in 1758 and
circulated his portfolio
William Cavendish, 1st Duke of Newcastle (1592-1676), Methode et Invention among an elite circle,
Nouvelle de Dresser les Chevaux, 1737 edition, Royal Collection Trust
which he gained access
Like his Dutch contemporaries Frans Snyder and Aelbert Cuyp, to via fellow artist and
George Stubbs, 1724–1806, Lustre, held by a
whose monumental animal paintings challenged the traditional hierarchy renowned portraitist Groom, ca. 1762, Oil on canvas, Yale Center for
of artistic genres, van Diepenbeeck paid close attention to animal form Joshua Reynolds. British Art, Paul Mellon Collection, B2001.2.122
and behavior, rendering the Duke’s horses with an expressive style that According to Stubbs,
revealed their unique psychologies. While these illustrations were made his cohort began commissioning portraits from him at a speed “hitherto
to aggrandize the Duke’s wealth and status, the animals were given unknown” to other painters of his status.
equal weight as a subject. Reprinted numerous times throughout the Stubbs came of age in a period when horseracing and competitive
17th and 18th centuries, this text undoubtedly informed George Stubbs dressage had become a fashionable pastime among the upper classes;
as he embarked on his own project. when breeding and owning thoroughbred horses was an established
part of an aristocratic lifestyle. This went
together with the creation of an entirely
new material culture of horsemanship:
ornate carriages, liveried footmen, and
equestrian attire soon became expressions of
status and wealth. Artistic depictions of
horses, alone or with their well-heeled
owners, conveyed the same rich associations.
One of Stubbs’ important early commis-
sions was a portrait of a racehorse called
Lustre, Held by a Groom (1762). Lustre was
descended from Godolphin Arabian, one of
the most decorated racing horses in
England. Unlike its illustrious father, Lustre
did not become a champion. It’s likely the
Second Lord Bolingbroke had the portrait
made to advertise his horse as a stud.
Stubbs, who would eventually complete at
least eight racehorse portraits for the noble-
man, based this study on his drawings for
The Anatomy of the Horse. Lustre is posed to
show off his assets: his musculature, poise,
and bearing demonstrate his training; and
George Stubbs (1724-1806), The Anatomy of the Horse, Including a Particular despite the grey skies, his chestnut body appears to be lit from within.
Description of the Bones, Cartilages, Muscles, Fascias, Ligaments, Nerves, The horse also looks highly alert, eyes wide and ears pricked, aware of
Arteries, Veins, and Glands, London: Henry G. Bohn, 1853, engravings, its surroundings. Again, Stubbs’ ability to imbue each subject with a
Yale Center for British Art, Paul Mellon Collection unique personality distinguished him as an animal painter.
Sketches of horses made between 1756 and 1757 demonstrate many As skillful as this painting was, Lustre was considered a traditional
of the hallmarks that would distinguish George Stubbs as an depiction of a horse set against a pleasant landscape on some nobleman’s
Animalière. Foremost was his attention to anatomical accuracy. Stubbs estate. Had he continued to produce just these types of paintings, that
depicted horses from the frontal, lateral and posterior views and used would’ve been one thing; however, Stubbs continued to challenge
his anatomy training to skillfully render anatomical features like bones, himself as an artist and equine expert. In 1762, he accepted an invitation
muscles, ligaments, and arteries. Stubbs also imbued his equine subjects by the Marquess of Rockingham to spend “some months” at his country
with lifelike qualities. Even lacking skin or bones, they seem to move estate in Yorkshire to paint his horses. Out of this experience came
with elegance and grace. No doubt he studied horses in action so that Whistlejacket (1762), perhaps one of Stubbs’ most famous paintings,
he could illustrate how their bodies operated in different scenarios, not to mention one of the most celebrated works of British art.
whether prancing, rearing back, or at rest. Whistlejacket was an Arabian Thoroughbred champion, beaten
After George Stubbs finished his drawings, it took him several years only four times in his racing career. His demeanor was wild and
to find an engraver confident enough to turn them into prints. Most tempestuous, traits captured by Stubbs in his portrait of the stallion.
felt it was far too technical a job and beyond their skill. Ultimately, he Described as a “romantic study in solitude and liberty,” Stubbs depicts
had to do the job himself, and in 1766 was finally able to publish his Whistlejacket as a heroic figure of epic proportions. Set against a blank

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