George Stubb Research Paper
George Stubbs is a famous English animal painter and structural designer. Stubbs was born in Liverpool, England on August 24th, 1724 and was the son of John and Mary Stubbs. Although he lived a long life he died on July 10th, 1806 in London. For a short time, at the age of fifteen, Stubbs had a probationer painter named, Hamlet Winstanley. However, he left him only after a few weeks therefore, he essentially taught himself. Settling in York in approximately 1745, he practiced portrait painting however, he obsessed over anatomy. He studied anatomy at York Hospital and taught confidentially to medical students, he was hired to illustrate John Burton’s Essay Towards a Complete New System of Midwifery, 1751. This required him to learn how to etch.
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Around 1756 to 1760, in Liverpool, he began studies that resulted in The Anatomy of the Horse. He lived in much discomfort while studying in a remote Lincolnshire farmhouse with the animals he was dissecting. While in Liverpool he was said to have a companion, Mary Spencer, there is no record of them being married, although they did have a son together. Stubbs came to London after implementation his dissections and drawings in 1758 in order to find a reproductive engraver. However he had failed to find a reproductive engraver therefore, he made the plants himself. By 1764, he had settled on Somerset Street.
During the 1760s, Stubbs obtained an enormous reputation as an artist.
He worked on all scales he was not particular. In this decade he painted racing, hunting, and shooting scenes, and portraits of wild animals especially horses. In fact, his first dramatic subject matter was of a horse attacked by a lion. His supporters were recognized, and he exhibited from 1762 at the Society of Artists, of which he became president of in 1772. However, as an animal painter he was not made an established member from the Royal Academy of Arts and did not change to the presentations there until 1775. In 1780, he was chosen as an Associate of the Royal Academy, in any case, however, he was elected a full Academician in 1781, and his election was not sanctioned since he never supplied a diploma picture. This was most likely the consequence of his disappointment at the unfavorable hanging in 1781 of his enamel paintings. In the 1770s Stubbs' reputation endured. This was mostly due to his arrangement as a unimportant animal painter, and somewhat in his absorption in experiments with veneer hues, a procedure that prompted a productive relationship with Josiah Wedgwood, whose fired tablets he discovered the best support for bigger
compositions.
During the 1780s, Stubbs studied a new technique based on mezzotint and began painting scenes of rural areas, however, his products were too refined to be popular. In 1790 the Turf Review commissioned a progression of pictures of popular racehorses, in order for them to be engraved by his son. Sixteen were shown in 1794, yet none was sold and the enterprise slipped by. Early 1790s, Stubbs additionally executed commissions for the Prince of Wales, however the last decade he was alive seemed to bring him great financial complications. Amid this time he committed himself to his most ambitious ventu re, a study of the near life systems of a man, a tiger, and a chicken. He unfortunately passed away in London practically unnoticed on 10 July 1806.3
(go to library and have some intro)
Throughout George Stubbs’s long life and for many years after he passed away, he was known as a horse painter. However he wasn’t just a normal painter he had the ability to capture the anatomy of the horse with astonishing accuracy. The painting Lustre, Held by a Groom’s medium is identified as a drying oil however within the drying oil is pine resin as well as unidentified non-drying oil or fat. The painting is 40 1/8 in. x 50 in. painted on a canvas. The painting is asymmetrical however it gives off the impression that it is balanced. With the horse’s head being on the side of the groomer only the horse’s body is on the opposing side. Stubbs uses an abstract movement of lines, shapes, and tones in the work. Therefore the image is that much more appealing. Stubbs has a great technique of having the horse’s coat have a pale yet glowing yellows and greens to represent early fall. The colors around the horse are relatively dull, which brings out a different kind of luster. A subtle luster however it was enough to bring the viewer’s eye directly to the horse making the viewer appreciate the beauty just as Stubbs once did. There is a slight shadow, which tells the viewer the landscape has a significant depth. With the trees being exceptionally smaller, especially those in the far right you can see if the groom was to let the horse free, the horse could run for miles. Overall you cannot see brushstrokes and the painting looks smooth. However, Stubbs gives this affect that makes you believe you can actually go up and touch the horse’s muscular body or the groom’s trench coat. There is the illusion of a 3-D effect, the painting can almost seem like an action shot. The groom is in mid step, as you look closely you can see his left heel is slightly risen which tells the viewer he was in motion. His right foot is in front of his left, which shows depth. In addition the clouds show depth as well as shadowing. On the left side of viewer’s perspective of the painting the clouds seem to be more piled on top of one another. Whereas towards the right there is a small area of sky appearing, which seems to be further back in the artwork. Which relates to Stubbs using an atmospheric perspective for an outdoor scene. The painting gives off a nonlinear illusion of depth. Lustre, Held by a Groom has all three elements of a foreground, middle ground and background. The groom and horse would be in the area of the foreground and as the painting moves back in depth the hills and the trees would be considered the middle ground. Finally the sky and clouds would be considered the background of the painting.
(add a closing sentence)
(add an intro)
The first painting from his series of four was Two Gentlemen Going a Shooting, with a View of Creswell Crags, Taken on the Spot made from oil and painted on a canvas. The canvas was roughly 40 x 50 inches and the frame it was placed in is 47.5 x 57.5 x 3.25 inches. This painting is asymmetrical because each side of the work is different. The viewers left side has steep limestone cliffs, which have a rosy glow to them as the sun rises. On the right side are the two gentlemen accompanied by their pointers as they prepare to hunt for the day. Stubbs’s brushstrokes gives off the illusion of mass, volume and depth. Stubbs gives the cliff a great amount of mass. He focused on the detail and makes it look extremely realistic, as if you can climb up it. The lake in the background shows depth and volume. With the reflection of the rising sun and the land being slightly above the water, it seems as if the lake has volume. The gentlemen are placed up front with their canines as the trees and lake take over the background. Stubbs was able to set the mood with having colors in his painting. By having shading in his painting Stubbs was adding black to a pure hue. In addition he had tints, which he added white to a pure hue and tones and he did that by adding gray to a pure hue. Brushstrokes are one of the key elements to a painting. In some painting the brushstroke is very obvious and others it is barely noticeable. Overall Stubbs painting of the Two Gentlemen Going a Shooting, with a View of Creswell Crags, Taken on the Spot does not have noticeable brushstrokes and the painting is smooth. Lines are a significant factor because they define the edge of a shape or form. In addition they are capable in creating patterns or an illusion of mass, volume or movement. The lines Stubbs uses are slightly fuzzy, thin and under control. He does not use any bumpy or popping out illusions however, the water looks wet, the cliff looks rough, and the leaves look healthy and lively. In addition, Stubbs incorporated the effect of having a 3-D painting. The painting also uses the atmospheric perspective, which is a spatial distance on a two-dimensional plane by delicate differences in color and clarity of representation. The outdoor painting has a foreground, middle ground and a background. In the area closest to the picture panel stands the two gentlemen with their dogs on the right; a small hut is placed in the foreground as well in between the center of the painting and the left edge. In the middle ground the lake and the cliff occupies the middle of the painting. In the greatest distance from the panel become fuzzy to bring together the atmospheric perspective to the painting. In the great distance you see a few trees and what looks to be a valley.
Around 1756 to 1760, in Liverpool, he began studies that resulted in The Anatomy of the Horse. He lived in much discomfort while studying in a remote Lincolnshire farmhouse with the animals he was dissecting. While in Liverpool he was said to have a companion, Mary Spencer, there is no record of them being married, although they did have a son together. Stubbs came to London after implementation his dissections and drawings in 1758 in order to find a reproductive engraver. However he had failed to find a reproductive engraver therefore, he made the plants himself. By 1764, he had settled on Somerset Street.
During the 1760s, Stubbs obtained an enormous reputation as an artist.
He worked on all scales he was not particular. In this decade he painted racing, hunting, and shooting scenes, and portraits of wild animals especially horses. In fact, his first dramatic subject matter was of a horse attacked by a lion. His supporters were recognized, and he exhibited from 1762 at the Society of Artists, of which he became president of in 1772. However, as an animal painter he was not made an established member from the Royal Academy of Arts and did not change to the presentations there until 1775. In 1780, he was chosen as an Associate of the Royal Academy, in any case, however, he was elected a full Academician in 1781, and his election was not sanctioned since he never supplied a diploma picture. This was most likely the consequence of his disappointment at the unfavorable hanging in 1781 of his enamel paintings. In the 1770s Stubbs' reputation endured. This was mostly due to his arrangement as a unimportant animal painter, and somewhat in his absorption in experiments with veneer hues, a procedure that prompted a productive relationship with Josiah Wedgwood, whose fired tablets he discovered the best support for bigger
compositions.
During the 1780s, Stubbs studied a new technique based on mezzotint and began painting scenes of rural areas, however, his products were too refined to be popular. In 1790 the Turf Review commissioned a progression of pictures of popular racehorses, in order for them to be engraved by his son. Sixteen were shown in 1794, yet none was sold and the enterprise slipped by. Early 1790s, Stubbs additionally executed commissions for the Prince of Wales, however the last decade he was alive seemed to bring him great financial complications. Amid this time he committed himself to his most ambitious ventu re, a study of the near life systems of a man, a tiger, and a chicken. He unfortunately passed away in London practically unnoticed on 10 July 1806.3
(go to library and have some intro)
Throughout George Stubbs’s long life and for many years after he passed away, he was known as a horse painter. However he wasn’t just a normal painter he had the ability to capture the anatomy of the horse with astonishing accuracy. The painting Lustre, Held by a Groom’s medium is identified as a drying oil however within the drying oil is pine resin as well as unidentified non-drying oil or fat. The painting is 40 1/8 in. x 50 in. painted on a canvas. The painting is asymmetrical however it gives off the impression that it is balanced. With the horse’s head being on the side of the groomer only the horse’s body is on the opposing side. Stubbs uses an abstract movement of lines, shapes, and tones in the work. Therefore the image is that much more appealing. Stubbs has a great technique of having the horse’s coat have a pale yet glowing yellows and greens to represent early fall. The colors around the horse are relatively dull, which brings out a different kind of luster. A subtle luster however it was enough to bring the viewer’s eye directly to the horse making the viewer appreciate the beauty just as Stubbs once did. There is a slight shadow, which tells the viewer the landscape has a significant depth. With the trees being exceptionally smaller, especially those in the far right you can see if the groom was to let the horse free, the horse could run for miles. Overall you cannot see brushstrokes and the painting looks smooth. However, Stubbs gives this affect that makes you believe you can actually go up and touch the horse’s muscular body or the groom’s trench coat. There is the illusion of a 3-D effect, the painting can almost seem like an action shot. The groom is in mid step, as you look closely you can see his left heel is slightly risen which tells the viewer he was in motion. His right foot is in front of his left, which shows depth. In addition the clouds show depth as well as shadowing. On the left side of viewer’s perspective of the painting the clouds seem to be more piled on top of one another. Whereas towards the right there is a small area of sky appearing, which seems to be further back in the artwork. Which relates to Stubbs using an atmospheric perspective for an outdoor scene. The painting gives off a nonlinear illusion of depth. Lustre, Held by a Groom has all three elements of a foreground, middle ground and background. The groom and horse would be in the area of the foreground and as the painting moves back in depth the hills and the trees would be considered the middle ground. Finally the sky and clouds would be considered the background of the painting.
(add a closing sentence)
(add an intro)
The first painting from his series of four was Two Gentlemen Going a Shooting, with a View of Creswell Crags, Taken on the Spot made from oil and painted on a canvas. The canvas was roughly 40 x 50 inches and the frame it was placed in is 47.5 x 57.5 x 3.25 inches. This painting is asymmetrical because each side of the work is different. The viewers left side has steep limestone cliffs, which have a rosy glow to them as the sun rises. On the right side are the two gentlemen accompanied by their pointers as they prepare to hunt for the day. Stubbs’s brushstrokes gives off the illusion of mass, volume and depth. Stubbs gives the cliff a great amount of mass. He focused on the detail and makes it look extremely realistic, as if you can climb up it. The lake in the background shows depth and volume. With the reflection of the rising sun and the land being slightly above the water, it seems as if the lake has volume. The gentlemen are placed up front with their canines as the trees and lake take over the background. Stubbs was able to set the mood with having colors in his painting. By having shading in his painting Stubbs was adding black to a pure hue. In addition he had tints, which he added white to a pure hue and tones and he did that by adding gray to a pure hue. Brushstrokes are one of the key elements to a painting. In some painting the brushstroke is very obvious and others it is barely noticeable. Overall Stubbs painting of the Two Gentlemen Going a Shooting, with a View of Creswell Crags, Taken on the Spot does not have noticeable brushstrokes and the painting is smooth. Lines are a significant factor because they define the edge of a shape or form. In addition they are capable in creating patterns or an illusion of mass, volume or movement. The lines Stubbs uses are slightly fuzzy, thin and under control. He does not use any bumpy or popping out illusions however, the water looks wet, the cliff looks rough, and the leaves look healthy and lively. In addition, Stubbs incorporated the effect of having a 3-D painting. The painting also uses the atmospheric perspective, which is a spatial distance on a two-dimensional plane by delicate differences in color and clarity of representation. The outdoor painting has a foreground, middle ground and a background. In the area closest to the picture panel stands the two gentlemen with their dogs on the right; a small hut is placed in the foreground as well in between the center of the painting and the left edge. In the middle ground the lake and the cliff occupies the middle of the painting. In the greatest distance from the panel become fuzzy to bring together the atmospheric perspective to the painting. In the great distance you see a few trees and what looks to be a valley.