George stubbs lion attacking a horse. Lion Attacking a Horse 2022-11-16
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George Stubbs was a renowned 18th century English painter who is perhaps best known for his paintings of horses. One of his most famous works is a painting titled "Lion Attacking a Horse."
The painting depicts a lion fiercely attacking a horse, with its teeth bared and claws extended. The horse is shown rearing up in fear and trying to defend itself, while the lion appears to have the upper hand. The painting is filled with tension and drama, as the two animals engage in a life-and-death struggle.
Stubbs was known for his meticulous attention to detail and his ability to capture the essence of his subjects. In "Lion Attacking a Horse," he perfectly captures the ferocity of the lion and the fear and desperation of the horse. The painting is a testament to Stubbs' skill as an artist and his ability to bring his subjects to life on canvas.
Despite the subject matter, "Lion Attacking a Horse" is not a violent or gruesome painting. Instead, it is a testament to the beauty and power of nature, and the eternal struggle between predator and prey. It is a work of art that has stood the test of time and continues to be admired by art lovers around the world.
In conclusion, "Lion Attacking a Horse" is a masterpiece of 18th century painting and a testament to the skill and talent of George Stubbs. It is a work of art that continues to captivate and inspire audiences to this day.
‘Horse Attacked by a Lion‘, George Stubbs, 1769
He was a co-founder of the official painter's academy in Venice in competition to the old fraglia or painter's guild , the Accademia di Belle Arti di Venezia, and he succeeded as President 1758? Cynthia E Roman, Carrie Roider, and Wadsworth Atheneum Museum of Art, Canaletto to Constable: paintings of town and country from the Yale Center for British Art, exh. His last project, begun in 1795, was A comparative anatomical exposition of the structure of the human body with that of a tiger and a common fowl, engravings from which appeared between 1804 and 1806. The animals bulk much larger in the design than in the first version, making the composition much more monumental. Both are similar in style, mood, size and colouring. Purchased through the Maas Gallery with the aid of the Friends of the Tate Gallery and a special government grant Grant-in-Aid 1970. Stubbs's interest in the subject is traditionally presumed to originate from a scene he reportedly witnessed in North Africa during his return by sea from Italy.
Albert Bierstadt Museum: A Lion Attacking a Horse George Stubbs
The theme of a horse being attacked by a lion obsessed Stubbs for thirty years. His mature palette was noted, as was Tiepolo's, for his lightness of tone. Stubbs's inspiration from the antique sculpture is thus likely to have been indirect, from a source derived from the sculpture but pre-dating the repair to it in 1594; and that indirect source is likely to have been either the engraving by Adamo Ghisi discussed by Taylor and repr. National Gallery of Victoria, Melbourne Documentation: T. Portrait of Louise de Kerouaille, Duchess of PortsmouthShut out, in spite of the deserved success of his decorations of the cupola of Val de Grace 1664 , from any great share in those public works, the control of which was the attribute of the new Academy, Mignard was chiefly active in portraiture.
The large oil painting now in the collection of Mr and Mrs Paul Mellon 96×131 in. In this enamel on copper piece, Stubbs cut off the corners to form an irregular octagon, thus tightening the composition. It became known to the public that while Stubbs was on a visit to North Africa, he had witnessed a horse being attacked and killed by a lion. Turner 1839 Wanderer above the Sea of Fog by Caspar David Friedrich 1818 This painting, by The Morning by Philipp Otto Runge 1808 A Lion Attacking a Horse by George Stubbs 1770 George Stubbs was an English painter whose main interest was horses, which he depicted most often. Examples, both in oil on canvas, are in the National Gallery of Victoria, Melbourne 26×38 in.
He is depicted lying dead after he had poisoned himself with arsenic. Coll: Penniston Lamb, 1st Viscount Melbourne; his daughter, firstly Lady Cowper, secondly Lady Palmerston; her son, Lord Mount Temple; remained at Brocket Hall, Hertfordshire until bought 1920 by Sir George Buckston Browne and presented with Down House to the British Association for the Advancement of Science, by whom handed over in 1952 to the Royal College of Surgeons; sold 1968 to Speelman; sold to a private British collector, by whose executors sold through the Mass Gallery to the Tate. Stubbs' which paints a vivid word-picture of the frightened horse, 'rooted' to the spot by 'apprehension, horror, hatred, fear', with 'ears shot forward' and 'stiff projected mane'. The subject was a very popular one and in 1780 Stubbs used the same composition to model a clay bas-relief from which the pottery manufacturer Josiah Wedgwood produced decorative black basalt tablets. The area was well off the tourist path, and had legendary connotations as a den for prehistoric wild beasts, although Stubbs may not have been aware of this. Germain Bazin, Théodore Géricault: étude critique, documents et catalogue raisonné Paris: Bibliothéque des arts, 1987—97 , no.
‘Horse Frightened by a Lion‘, George Stubbs, ?exhibited 1763
Largely discounting a posthumous anecdote that Stubbs, returning from Italy, made an otherwise unrecorded visit to the coast of Africa and there witnessed a lion attacking a Barbary horse, Taylor convincingly suggested that Stubbs's initial inspiration for the theme was in fact an antique marble sculpture repr. He had had a passion for anatomy from his childhood, and one of his earliest surviving works is a set of illustrations for a textbook on midwifery which was published in 1751. The painting is considered as Stubb's earliest attempt in enamel and was the first time that an artist of Stubbs' reputation has used this medium. In these works, Stubbs wholly departs from the restrained portraiture of well-bred animals to echo the more sublime emotions of Romanticism: terror, anguish and the throes of death. The result is a forceful depiction which is perhaps his most successful treatment of the theme. Stubbs was obsessed with the subject of a lion attacking a horse, making at least seventeen works on the theme, most of which were in oil on regularly-shaped canvas.
'A Lion Attacking a Horse' by George Stubbs cre...
Besides Tiepolo, Pittoni's influences were Giovanni Battista Piazzetta, Sebastiano Ricci, and Antonio Balestra. He remained active into his old age. Successful with his portrait of the king, and in favour with the court, Mignard pitted himself against Le Brun, declined to enter the Academy of which he was the head, and made himself the centre of opposition to its authority. Also in the 1770s he painted single portraits of dogs for the first time, while also receiving an increasing number of commissions to paint hunts with their packs of hounds. Paul Mellon, The Royal Academy of Arts Winter Exhibition 1964-65. In the painting 'A Lion Attacking a Horse,' the image evokes a visceral and immediate response, and the fear in the body and face of the animal are almost palpable as the lion sinks it's teeth and claws into the horse's flanks.
Liberty Leading the People by Eugène Delacroix 1830 The Raft of the Medusa by Théodore Géricault 1819 This painting is Most of the passengers evacuated with 146 men and 1 woman being forced to take refuge on an improvised raft, but the raft was unfit, and passengers were left in the open ocean. Stubbs also painted more exotic animals including lions, tigers, giraffes, monkeys, and rhinoceroses, which he was able to observe in private menageries. Dozens were washed into the sea by a storm, and others were drunk or killed by officers for rebelling. Taylor divided Stubb's various treatments of the lion and horse theme into three distinct episodes: the first A , in which the lion prowls at some distance from the terrified horse; the second B , in which the lion comes closer, while the horse still stands in the same attitude of terror; and the third C , in which the lion crouches on the still standing horse's back and bites its flank. In this work, unlike all the other versions of the subject including T01192, the horse is pressed to the ground rather than on its feet, and in this respect it is particularly close to the sources suggested by Taylor, the Roman copy of a Greek original that Stubbs could have seen at the Palazzo dei Conservatori when he was in Rome in 1754 and its derivatives, especially the 18th-century version acquired by Henry Blundell of Ince-Blundell Hall, who also owned a version of Stubbs' painting the two sculptures and a related engraving are repr. He may have approached the medium out of scientific curiosity, although his exact reasons are not known.
‘Horse Devoured by a Lion‘, George Stubbs, ?exhibited 1763
It allowed Stubbs to demonstrate his virtuosity as an animal and landscape painter, while enabling him, through his reference to a classical source, to elevate animal painting to history painting. The area was then an inaccessible, wild region that fascinated Stubbs. Basil Taylor, in the article listed above, has analysed the origins and development of Stubbs' treatment of the theme of a lion pursuing and attacking a horse. Lit: Sir Walter Gilbey, Life of George Stubbs R. He used a copper plate support for this work, but was dissatisfied with the size limitations, and for later enamels commissioned the Master Potter Josiah Wedgwood to produce special large ceramic tablets. His paintings were of a Rococo style, but later became more sedate in their approach towards Neoclassicism.