Af alle George Stubbs's malerier er Whistlejacket (1762) det mest berømte; det hænger på National Gallery i London. Lige efter følger Løve Angriber Hest (1765) og "A Bay Hunter With Two Spaniels" bliver til dansk: "En Jagthund med To Spanieler". (1777). Blandt de 223 værker af George Stubbs i vores katalog er disse 100 de mest fejrede, hver vist med sin dato, sit museum og sin historie.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion på lærred, eller som et kunsttryk i den størrelse, du vælger.
In this 1762 oil-on-canvas, George Stubbs presents Whistlejacket, a magnificent bay Thoroughbred that seems to surge from the very fabric of the painting. The horse belongs to the Marquess of Rockingham, and its presence is immediate and commanding. It does not merely stand; it rears up, caught in a sudden, powerful movement that defies the stillness of the medium. The animal's muscular frame ripples with a life of its own,…
George Stubbs’ “Lion Attacking a Horse” er mere end blot et maleri; det er en visceral oplevelse af rå naturkraft og den primitive kamp for overlevelse. Skabt i 1765, fanger dette ikoniske værk et øjebliks uforholdsmæssig intensitet mellem to majestætiske dyr – en vildhest i panik og en aggressiv løve på jagt. Stubbs’ mesterskab ligger ikke kun i den fotografiske realisme, men også i hans evne til at indfange følelsen…
George Stubbs’ “A Bay Hunter With Two Spaniels,” malet i 1777, er mere end blot et billede; det er et vindue ind til en verden af aristokratisk jagt, dyb observation og enestående kunstnerisk talent. Maleriets kraft ligger ikke kun i dets realistiske gengivelse af hest og hunde, men også i den måde, Stubbs formår at fange essensen af deres bevægelser, deres relationer og den fredfyldte skønhed i det omkringliggende landskab.…
En fængslende scene af 18. århundredes jagttradition Fordyb dig i en levende skildring af en klassisk britisk jagtscene fra det 18. århundrede. Dette mesterlige værk indfanger et dynamisk øjeblik af kammeratskab og handling, hvor ryttere, klædt i tidens dragter, navigerer gennem et frodigt landskab under et tag af levende efterårsløv. Scenen udstråler energi og målrettethed og afspejler jagtens kulturelle betydning som både en sport og et socialt ritual i denne…
George Stubbs’s “Tiger,” painted in 1771, isn’t merely a depiction of an animal; it's a visceral exploration of power, instinct, and the sublime. This oil painting, now housed within the collections of Google Arts & Culture, immediately commands attention with its dramatic composition and masterful use of light and shadow. The scene unfolds within a shadowy forest, a carefully constructed stage for the tiger’s predatory grace – a creature rendered…
George Stubbs's "Horse Frightened by a Lion," painted in 1770, isn’t merely a depiction of animals; it’s a visceral exploration of primal fear and the raw power of nature. This monumental oil painting, measuring an impressive 1261 x 1001 cm, commands attention with its masterful use of chiaroscuro – the dramatic interplay of light and shadow – characteristic of the Baroque period yet imbued with a distinctly Romantic sensibility. The…
In the grand tradition of British sporting art, few works command the room with as much raw vitality and anatomical precision as George Stubbs’s Whistlejacket. Painted in 1762, this monumental canvas transcends the boundaries of a mere portrait, offering instead a breathtaking study of power, grace, and kinetic energy. The subject, a magnificent bay Thoroughbred, is captured in a moment of suspended animation, galloping across a space that feels both…
George Stubbs' "Lord Grosvenor’s Arabian Stallion with a Groom," painted in 1765, isn’t merely a portrait; it’s a meticulously crafted tableau vivant—a snapshot of aristocratic leisure and the profound connection between man and beast. Stubbs, already recognized as the foremost painter of horses of his era, transcends simple representation, instead offering a deeply considered study of anatomy, movement, and psychological nuance. This work exemplifies his pioneering approach to animal painting,…
Subject and Composition The canvas opens to a dramatic tableau in which a lion, the undisputed monarch of the savannah, has seized a stag mid‑flight. The predator’s muscular frame dominates the foreground, its jaws poised as if about to deliver the decisive bite. Below, the stag’s antlers curl like twisted branches, its body caught in a moment of frantic escape. A solitary bird perches on a branch near the upper…
To gaze upon this depiction of a man mounted on his magnificent steed is to be swept away by the very energy of the late eighteenth century. George Stubbs, master chronicler of equine grace and human dignity, captures a moment brimming with aristocratic vitality. The central figure, the titular Baronet, commands attention not merely through his striking red jacket—a bold splash of color against the muted tones of the background—but…
In the annals of British art history, few images possess the visceral, heart-stopping intensity of George Stubbs’s “A Lion Attacking a Horse.” Completed in 1762, this masterpiece is…
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To stand before George Stubbs’ magnificent "Lion Devouring a Horse" is to be plunged into a moment of raw, untamed drama. This 1763 oil on canvas does more…
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To stand before George Stubbs's "Horse Devoured by a Lion" is to be thrust into the very heart of a visceral, untamed struggle. Completed in 1763, this masterpiece…
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George Stubbs's Foxhound: A Symphony of Texture and Movement George Stubbs’s “Foxhound” stands as an exceptional testament to 18th-century British art, encapsulating the Romantic spirit with unparalleled anatomical…
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George Stubbs's “The Fall of Phaëton,” painted in 1777, isn’t merely a depiction of a Greek myth; it’s a visceral experience. This monumental canvas, now residing within the…
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To gaze upon this study is to participate in an act of profound intellectual curiosity. It is not merely a depiction of a fowl, but rather a meticulous…
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Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound George Stubbs’s “Freeman, The Earl of Clarendon’s Gamekeeper, with a Dying Doe and Hound” stands as…
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The Prince of Wales Phaeton is an oil painting by George Stubbs, executed in 1793. This work captures a specific moment of aristocratic leisure, centered on a phaeton…
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We are looking at Studies for or after "The third Duke of Richmond with the Charleton Hunt", a work by George Stubbs. Created in the late 1750s, this…
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A dark bay thoroughbred occupies the central space of this oil on canvas, positioned in a three-quarter view with its head turned toward the left. The horse's coat…
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A small, elegant King Charles Spaniel pauses amidst a lush, natural setting, its gaze meeting the viewer with an expression of gentle inquiry. The dog stands poised, its…
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Billedet fremhæver en præcis gengivelse af okseens muskler og skeletstruktur, hvilket var et resultat af Stubbs’s grundige anatomiske undersøgelser. Fuglene omkring okset viser også Stubbs’s interesse for detaljer…
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George Stubbs' “Molly Long Legs with Her Jockey,” painted in 1762, isn’t merely a depiction of a horse and rider; it’s a profound meditation on the relationship between…
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There is a profound stillness in this pastoral scene, a moment captured where the rhythm of manual labor meets the vastness of the English countryside. The composition, framed…
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In 1769, George Stubbs composed a formal group portrait featuring Captain Samuel Sharpe Pocklington alongside his wife, Pleasance, and potentially his sister, Frances. The figures are situated within…
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The allure of George Stubbs’ equine masterpieces lies not merely in their anatomical precision, but in the profound sense of serenity and nobility they imbue within their subjects.…
A single oak tree anchors the left side of the frame, its branches reaching into a cloudy sky. Beneath it, five horses move through the grass. Three mares…
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This oil on canvas portrait, titled Margaret Newton (née Coningsby), Countess of Coningsby in the Costume of the Charlton Hunt, was executed by George Stubbs. Created about 1760,…
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This work is the Self-Portrait by George Stubbs. Created in 1759, the piece is an intimate and somber 18th-century oil self-portrait. The composition is presented in an oval…
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A violent struggle unfolds between a white horse and a lion, captured in a moment of intense physical conflict. The composition centers on the intertwined, muscular bodies of…
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A white poodle occupies the center of a wooden boat, its body a mass of tight, snowy curls. The dog turns its head toward the viewer, eyes of…
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Under the warm midday sun, the men and dogs have hit their stride. The pointers have flushed a bird, a shot rings out, and a partridge plummets to…
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The tension of a primal encounter unfolds in Lion and Lione, a work that captures a moment of raw, unscripted survival. This painting, titled Lion and Lioness, brings…
The man stares out from a deep red void, his presence immediate and heavy. He wears a formal suit and a wig, the attire of a gentleman, yet…
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George Stubbs painted Cheetah with two Indian servants and a deer in 1765. Commissioned by Lord Pigot of Patshull, the oil on canvas work captures a specific moment…
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A magnificent Arabian stallion occupies the center of this composition, its form rendered with precise anatomical accuracy. The horse stands near a groom at Creswell Crags, positioned against…
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George Stubbs produced Pavian and Albino Makake around 1780. This work belongs to the Romanticism movement, a period characterized by an emphasis on the emotional and natural world.…
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George Stubbs’s “The Marquess of Rockingham” is more than just a portrait; it's a meticulously crafted tableau vivant, capturing the essence of 18th-century English aristocracy and the burgeoning…
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In the quiet intimacy of this 1781 portrait, we are invited to step back into the refined atmosphere of the late Georgian era. The painting presents us with…
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George Stubbs's "Man," painted around 1800, isn’t merely a depiction of the human form; it’s a profound meditation on anatomy, observation, and the burgeoning scientific spirit of the…
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George Stubbs painted Hound Coursing a Stag in 1762. This work belongs to the animal genre, focusing on the raw mechanics of a hunt. The scene captures a…
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George Stubbs produced Horse Attacked by a Lion in 1762. This oil on canvas work represents a quintessential expression of the Romanticism style. It captures a moment of…
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To gaze upon this depiction of the Greenland Falcon is to be transported to a moment suspended between raw wilderness and exquisite artistry. George Stubbs, the master anatomist…
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George Stubbs's "Isabella Saltonstall as Una in Spenser’s ‘Faerie Queene’," painted in 1782, is more than a portrait; it’s a meticulously crafted tableau vivant, a shimmering distillation of…
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We are looking at a significant anatomical study titled Study of the Human Figure, Anterior View, from 'A Comparative Anatomical Exposition of the Structure of the Human Body…
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In the quiet intensity of George Stubbs’s “A Foxhound,” one finds much more than a mere sporting portrait; one encounters a profound dialogue between scientific rigor and the…
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In the soft, golden light of the late eighteenth century, George Stubbs captures more than just a journey; he captures a social ritual of grace and command. A…
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A woman mounts her horse, her movements caught in a state of sudden apprehension. She carries a wicker basket, a symbol of her domestic livelihood, while her horse…
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George Stubbs's 1765 painting, *Gimcrack with John Pratt up on Newmarket Heath*, isn’t merely a depiction of a horse and rider; it’s a vibrant snapshot of a pivotal…
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In the quiet grandeur of the eighteenth century, few images capture the intersection of scientific rigor and romantic passion as profoundly as George Stubbs’s 1762 masterpiece, 'Lustre' Held…
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In the mid-1750s, the British art scene was undergoing a profound transformation, moving away from rigid classical ideals toward a more visceral, observational realism. George Stubbs, an artist…
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A chestnut horse stands anchored in the landscape, its coat a warm, solid weight against the cool air. It looks directly at the viewer, a steady gaze meeting…
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In the gentle light of 1787, George Stubbs captured more than just a landscape; he immortalized a fleeting moment of aristocratic serenity in his masterpiece, Lord and Lady…
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George Stubbs’ Portræt af George Fothergill – Et Dramatisk Øjeblik i Tidens Lys George Stubbs’ 1746 portræt af George Fothergill er en fascinerende rejse tilbage til det 18.…
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In Bulls Fighting, George Stubbs presents a moment of raw, physical struggle. Painted in 1786, the work captures a confrontation between two powerful bulls. This is not a…
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George Stubbs’s Labourers is more than just a depiction of farm work; it is a vibrant tableau vivant, a carefully composed meditation on the rhythm and resilience of…
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In the quiet, dignified presence of George Stubbs’s 1755 portrait, James Stanley, we encounter more than just a likeness; we step into the very heart of the Enlightenment.…
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In the sweeping expanse of George Stubbs’s 1769 masterpiece, The Milbanke and Melbourne Families, we are invited into a world where aristocratic grace meets the raw, anatomical vitality…
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In the grand tradition of British portraiture, few works capture the intersection of human authority and animal grace as profoundly as George Stubbs’s Joseph Smyth Esquire, Lieutenant of…
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In the gentle embrace of George Stubbs’s 1785 masterpiece, Harvest, the viewer is transported to an era where the rhythm of life was dictated by the turning of…
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The setting, with its low horizon, is based on Stubbs’s study of a rubbing house and race course on Newmarket Heath. Shown at the peak of his career,…
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The sketch, one of only two pure landscapes by Stubbs, is a view of a rubbing house and race course on Newmarket Heath. Repeatedly referred to by the…
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A sense of satisfaction emanates from this scene, set in the twilight of a fruitful day of hunting. One gentleman rests “sated with sport” in a darkening wood,…
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De fire motiver, der optræder hyppigst på disse lærreder, hver med sit mest elskede eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af George Stubbs | Malerier fra denne liste |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 34 | A Lion Attacking a Stag, Baronet, Foxhound |
 Royal Collection |
London | 16 | John Christian Santhague (d1. 821), Sir Sidney Medows (1701-92), George IV (1762-1830), when Prince of Wales |
 Walker Art Gallery |
Liverpool | 9 | Horse Frightened by a Lion, Oxen Lincolnshire, 'Molly Long Legs' with Her Jockey |
 National Gallery |
London | 4 | Whistlejacket, Lord and Lady in a Phaeton, The Milbanke and Melbourne Families |
 Fitzwilliam-museet |
Cambridge | 3 | Isabella Salstonstall as Una in Spenser's 'Faerie Queene', Gimcrack with John Pratt up on Newmarket Heath, Joseph Smyth Esquire, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse |
 National Gallery of Art |
Washington | 2 | Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances, White Poodle in a Punt |
 Scottish National Gallery |
Edinburgh | 2 | The Marquess of Rockingham's Arabian Stallion, The Marquess of Rockingham |
 Tate Gallery |
London | 2 | Lion Devouring a Horse |
George Stubbs’ Portræt af George Fothergill – Et Dramatisk Øjeblik i Tidens Lys George Stubbs’ 1746 portræt af George Fothergill er en fascinerende rejse tilbage til det 18.…
We are looking at Studies for or after "The third Duke of Richmond with the Charleton Hunt", a work by George Stubbs. Created in the late 1750s, this…
In this 1762 oil-on-canvas, George Stubbs presents Whistlejacket, a magnificent bay Thoroughbred that seems to surge from the very fabric of the painting. The horse belongs to the…
George Stubbs’ “A Bay Hunter With Two Spaniels,” malet i 1777, er mere end blot et billede; det er et vindue ind til en verden af aristokratisk jagt,…
To gaze upon this depiction of a man mounted on his magnificent steed is to be swept away by the very energy of the late eighteenth century. George…
Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound George Stubbs’s “Freeman, The Earl of Clarendon’s Gamekeeper, with a Dying Doe and Hound” stands as…
Whistlejacket (1762), National Gallery, London. Løve Angriber Hest (1765) og "A Bay Hunter With Two Spaniels" bliver til dansk: "En Jagthund med To Spanieler". (1777) følger efter.
George Stubbs, født i 1724, var 38 år gammel: Whistlejacket er fra 1762.
Whistlejacket, Løve Angriber Hest, "A Bay Hunter With Two Spaniels" bliver til dansk: "En Jagthund med To Spanieler"., The Grosvenor Hunt, Tiger, Horse Frightened by a Lion, Whistlejacket, Lord Grosvenor, A Lion Attacking a Stag og Baronet. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.
223 værker af George Stubbs er i vores katalog, dateret fra 1743 til 1800.
Primært i Yale Center for British Art (New Haven), Royal Collection (London) og Walker Art Gallery (Liverpool); listen ovenfor nævner hvert museum og dets lærreder.
I 1760s, som udgør 46 af de 100 værker på denne side, herunder Whistlejacket.
Det tidligste lærred her er Portrait of a dark brown and white Newfoundland spaniel (1743); det seneste er Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound (1800).
Horse (18), 18th century (13) og Horses (13), fordelt på de 100 værker på denne side.
Oil On Canvas, anvendt i 29 af de 100 værker på denne side.
Romantic landscape painting, som lærrederne på denne side viser.
Yale Center for British Art, New Haven har 24 af værkerne på denne side, herunder A Lion Attacking a Stag, Baronet og Foxhound.
Ja. Hvert maleri på denne side kan bestilles fra sin egen side som en håndmalet oliereproduktion eller som et kunsttryk i den størrelse, du vælger.
Liverpool, Storbritannien, 1724. George Stubbs træder ind i verden som søn af John Stubbs, en garver, og Mary. Hans barndom tilbringes inden for rammerne af familievirksomheden, hvor han håndterer huder og værktøj. Denne tidlige eksponering for dyrehuderens fysiske egenskaber lægger en taktil grundsten for en spirende nysgerrighed. Ved 15-års alderen bliver trangen til visuel repræsentation umulig at ignorere. Han begynder sin kunstneriske rejse, ikke gennem formelle akademier, men gennem en utrættelig, selvstændig drivkraft for at forstå livets mekanik.
Vejen er ujævn. Et kort læretid under Hamlet Winstanley, en maler og graver fra Lancashire, giver et glimt af det professionelle håndværk, men det forbliver et kort kapitel. Stubbs søger noget mere krævende end blot efterligning. Han bevæger sig mod York, hvor fokus skifter fra det overfladiske udseende til den indre struktur. Under vejledning af kirurgen Charles Atkinson på York County Hospital påbegynder han dybdegående studier i anatomi. Denne periode med dissektion transformerer hans tilgang og forvandler kunstneren til en studerende af det skeletale og muskulære system.
Han forbliver i høj grad selvlært og opbygger sin tekniske dygtighed ved at observere værkerne fra det 18. århundredes samtidige. Han opsuger metoderne fra store kunstnere som Joshua Reynolds og Thomas Gainsborough, men hans fokus forbliver forankret i det videnskabelige. Han ønsker ikke blot at male et motiv; han ønsker at forstå senens spænding og knoglens placering under huden. Dette krydsfelt mellem det kirurgiske og det æstetiske definerer hans tidlige udvikling.
Succesen banker på gennem den engelske aristokratis døre. Allerede i 1759 bestiller den 3. hertug af Richmond tre store malerier, et træk der cementerer George Stubbs' professionelle status. Hans evne til at gengive dyrenes fysiske virkelighed fanger hurtigt opmærksomheden hos de førende aristokratiske mæcener. Han bevæger sig fra kunstverdenens periferi og ind i elitens inderste cirkler, hvor han producerer værker til adskillige hertuger og lordar. Denne konstante strøm af prestigefyldte bestillinger sikrer den økonomiske stabilitet, der er nødvendig for at etablere en permanent tilstedeværelse i hovedstaden. Han køber til sidst et hus i Marylebone, London, hvor han bliver boende resten af sit liv.
Efterspørgslen på hans unikke ekspertise strækker sig helt til samfundets øverste lag, da han nyder kongelig beskyttelse. Hans ry er bygget på evnen til at opfylde de specifikke ønsker fra ejere, der betragter deres heste som symboler på status. Disse mæcener søger mere end blot ligheder; de kræver den anatomiske præcision, som George Stubbs leverer. Hans værksted bliver et sted for betydelig produktion, der imødekommer smagen hos en klasse, som er besat af ridderlig excellence og avl af fine dyr.
George Stubbs opererer i det fascinerende krydsfelt mellem videnskabelig undersøgelse og den fine kunst. Hans tilgang hviler på en banebrydende realisme, der er dybt forankret i dyreformens fysiske virkelighed. Ved at forene anatomisk præcision med ekspressive detaljer bevæger han sig langt ud over det blot efterlignende; han formår at indfange selve livets mekanik. Gennem subtile gradueringer af skygger vækker han liv i hver eneste sene og hvert eneste leddbånd, og han gengiver sine subjekters underliggende struktur med en klarhed, der vidner om hans dybdegående studier af anatomien.
Denne besættelse af bevægelsens mekanik kommer ofte til udtryk i scener præget af intens spænding. Han blev optaget af temaet om den vilde hest, der er truet af en løve – et motiv, som han udforskede gennem adskillige variationer. Disse skildringer af en løve, der angriber en hest repræsenterer tidlige og betydningsfulde eksempler på romantikkens strømninger. I disse værker skifter fokus fra det statiske portræt til overlevelsens instinktive energi, hvor muskulaturens spænding bruges til at drive hele kompositionen fremad.
Året 1766 markerer et definitivt vendepunkt i krydsfeltet mellem kunst og videnskab. George Stubbs udgiver The Anatomy of the Horse, en banebrydende afhandling, der rækker langt ud over blot observation. Bogen indeholder 18 detaljerede illustrationer, som er resultatet af år brugt på at dissekere kadavere for at forstå livets mekanik. Dette værk etablerer ham som en autoritet inden for hestens anatomi og skaber et visuelt sprog for de muskler og sener, der definerer et levende dyr.
I det samme år skifter fokus fra det indre til det instinktive og rå. A Lion Attacking a Stag indfanger et øjeblik af rå, uforudsigelig overlevelse. Spændingen er næsten mærkbar i fremstillingen af både rovdyr og bytte. Dette tema om konflikt – den vilde hest truet af en løve – bliver en tilbagevendende besættelse, der dukker op i forskellige versioner gennem hele hans karriere. Det er en undersøgelse af kraft og bevægelse, der bygger bro mellem videnskabelig dokumentation og den spirende romantiske bevægelse.
Højdepunktet i hans portrætter af heste nås med Whistlejacket. Maleriet, som blev bestilt af den 2. Marquess of Rockingham, skildrer en springende hest mod en enkel baggrund og bryder dermed med datidens konventioner. Motivets nærvær er overvældende og umiddelbart. Omkring år 1780 skaber han The Marquess of Rockingham's Arabian Stallion, hvilket yderligere cementerer hans status i tidens højere sociale cirkler. Hans evne til at indfange essensen af et specifikt dyr står tilbage som hans mest varige bidrag til genren.
Arven efter Stubbs' anatomiske præcision lever videre i de store internationale institutioners sale. I London huser National Gallery Whistlejacket, et storslået portræt af en fuldblods væddeløbshest. Tate Gallery besidder ligeledes flere af hans malerier i sin samling. Disse værker tilbyder et direkte indblik i den præcision, der definerede hans karriere.
På den anden side af Atlanten rummer Yale Center for British Art i New Haven et betydeligt antal af hans værker. Denne samling giver et koncentreret indblik i hans samlede produktion. I Storbritannien bevarer Walker Art Gallery i Liverpool hans malerier, hvilket bringer hans billedsprog tilbage til hans fødested. Hans indflydelse strækker sig langt ud over lærredet og ind i den videnskabelige verden; hans bog, The Anatomy of the Horse, er fortsat et fundamentalt opslagsværk i studiet af hestens anatomi.
