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Student Artwork Guide

Finished study for

George Stubbs, 1758

Name Class Date
George Stubbs, Finished study for (1758), Royal Academy of Arts. Public domain.

The facts

Artist
George Stubbs topimpressionists.com/en/artists/george-stubbs/
Artist’s dates
1724 – 1806
Painted
1758
Medium
Acrylic On Canvas
Movement
Romanticism Art that puts feeling, wildness and the power of nature above calm order and rules.
Held at
Royal Academy of Arts topimpressionists.com/en/museums/royal-academy-of-arts-london/
Artistic style
Scientific illustration
Influences
Anatomy
Notable elements
Anatomical detail
Subject or theme
Horse skeleton

Copyright This work is in the public domain. George Stubbs died in 1806; copyright lasts 70 years after the artist’s death, so it ended in 1876.

Source: TopImpressionists.com — accessed Sept. 12, 2026

Finished study for — George Stubbs Part 1 · The artwork

In context

Finished study for — George Stubbs

When was this painted?

  1. 1720
  2. 1730
  3. 1740
  4. 1750
  5. 1760
  6. 1770
  7. 1780
  8. 1790
  9. 1800

Row above: the year. Row below: the artist's age in that year.

Painted when the artist was 34. The artist lived to 82. 5 of the 136 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of George Stubbs (1724–1806) ▲ this work, 1758

First works: up to 1765 Main working years: 1765–1785 Late works: from 1785

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell.

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/george-stubbs-finished-study-for-D49GDR-en/

Colours

Measured from the image

    Main colour

    Gray #666564

    Catalogued palette

    • #666564
    • #E4DCD0
    • #CEC7BB
    • #9F9A95
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by George Stubbs over the last twelve months — 12 countries in all.

    The ten leading countries

    1. 1 China 66.7%
    2. 2 United States of America 15.4%
    3. 3 Singapore 5.7%
    4. 4 Hong Kong 4.1%
    5. 5 Canada 1.6%
    6. 6 Guatemala 1.6%
    7. 7 Australia 0.8%
    8. 8 Brazil 0.8%
    9. 9 Colombia 0.8%
    10. 10 Italy 0.8%
    11. · 2 other countries 1.7%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by George Stubbs

    1. 1 A Bay Hunter With Two Spaniels, 1777 15.6%
    2. 2 The Grosvenor Hunt, 1762 3.7%
    3. 3 Finished study for, 1758 this painting 3.0%
    4. 4 Lion Attacking a Horse, 1765 2.2%
    5. 5 Molly Long-legs with her Jockey, 1762 2.2%
    6. 6 Firetail with his Trainer by the Rubbing-Down House on Newmarket Heath, 1773 2.2%
    7. 7 Horse Frightened by a Lion, 1770 2.2%
    8. 8 Lord Grosvenor, 1765 2.2%
    9. 9 Rhinoceros, 1792 2.2%
    10. 10 The Prince of Wales, 1793 2.2%
    11. 11 Joseph Smyth Esquire, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse, 1764 2.2%
    12. 12 The Lincolnshire Ox, 1790 1.5%
    13. 13 James Stanley, 1755 1.5%
    14. 14 Tiger, 1771 1.5%
    15. 15 Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound, 1800 1.5%
    16. 16 Mares and Foals in a River Landscape, 1768 1.5%
    17. 17 George Fothergill of York (1689–1770), 1746 1.5%
    18. 18 'Molly Long Legs' with Her Jockey, 1762 1.5%
    19. 19 Lord Clanbrassil with Hunter Mowbrary, 1769 1.5%
    20. 20 Fino and Tiny, 1791 1.5%

    Together these works take 53.4% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 194 works by this artist, of which 70 were looked at at least once. This painting ranks 3 of them, with 3.0% of that attention.

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: TopImpressionists.com — accessed Sept. 12, 2026

    Finished study for — George Stubbs Part 2 · In context

    About this artwork

    Finished study for — George Stubbs

    George Stubbs’ Anatomical Precision: A Window into the Romantic Horse

    George Stubbs' “Finished Study for The First Anatomical Table of the Muscles…of the Horse,” created in 1758, is far more than a mere scientific illustration; it’s a profound meditation on life, death, and the sublime beauty of the animal kingdom. This remarkably detailed graphite and charcoal drawing offers an intimate glimpse into the mind of one of history's most visionary artists, revealing not just the mechanics of equine anatomy but also Stubbs’ deep-seated fascination with capturing the essence of movement and emotion within his subjects.

    Stubbs’ journey to this level of anatomical understanding was a deliberate one. Initially trained as a currier – a leatherworker – he recognized early on that true artistic representation demanded an intimate knowledge of the forms he sought to depict. He abandoned his family trade and, driven by an almost obsessive curiosity, apprenticed himself to Charles Atkinson, a surgeon at York County Hospital, immersing himself in the study of human anatomy. This foundational experience proved invaluable when he turned his attention to horses, creatures that had long captivated him. Stubbs’ relentless dissection of dozens of equine corpses – a practice considered somewhat morbid at the time – yielded an unparalleled understanding of muscle structure, skeletal alignment, and the subtle nuances of movement. The resulting drawings are not simply accurate representations; they are infused with a palpable sense of vitality.

    A Romantic Vision of the Beast

    “Finished Study” firmly places Stubbs within the burgeoning Romantic movement, a period characterized by an emphasis on emotion, imagination, and the power of nature. Unlike earlier depictions of horses that often prioritized idealized beauty or heroic narratives, Stubbs’ work focuses on the raw physicality of the animal – its strength, vulnerability, and inherent wildness. The skeletal structure is rendered with meticulous precision, yet it's not presented as a cold, lifeless arrangement. Instead, the lines suggest a dynamic tension, hinting at the potential for movement and action. The drawing anticipates the dramatic, almost theatrical compositions that would later define Romantic painting, particularly in Stubbs’ monumental equine paintings like “Whistlejacket.”

    Furthermore, the choice of subject matter itself is significant. Horses were not merely beasts of burden or symbols of power; they represented a connection to the untamed wilderness – a realm of primal instinct and boundless energy. Stubbs' dedication to anatomical accuracy reflects a broader Romantic interest in understanding the natural world through scientific observation, but it’s coupled with an appreciation for the sublime—that feeling of awe and wonder inspired by confronting something vast and powerful.

    Technique and Symbolism

    The drawing’s power lies not only in its subject matter but also in Stubbs' masterful technique. The use of precise, linear hatching creates a remarkable sense of volume and depth, transforming the skeletal structure into a tangible presence on the page. Subtle variations in line density suggest the contours of muscle tissue beneath the bone, conveying a remarkable level of realism. The grayscale palette – devoid of color – emphasizes form and structure, lending the image an almost sculptural quality.

    Beyond its technical merits, “Finished Study” carries symbolic weight. The depiction of death—represented through the skeletal remains—can be interpreted as a meditation on mortality and the cyclical nature of life. Yet, it’s not presented in a morbid light; rather, it serves to highlight the underlying beauty and inherent dignity of the animal form. The drawing ultimately celebrates the enduring power of nature and the artist's ability to capture its essence with both scientific rigor and artistic sensitivity.

    A Legacy of Anatomical Mastery

    George Stubbs’ “Finished Study for The First Anatomical Table of the Muscles…of the Horse” stands as a testament to his unparalleled skill and profound understanding of the animal world. It is a pivotal work in art history, bridging the gap between scientific observation and artistic expression. Reproductions of this remarkable drawing offer a unique opportunity to appreciate Stubbs’ genius and to contemplate the enduring power of nature—a timeless subject that continues to inspire artists and captivate audiences today.

    Source: TopImpressionists.com — accessed Sept. 12, 2026

    Finished study for — George Stubbs Part 3 · About this artwork

    Artist and museum

    Artist

    George Stubbs

    Born in Liverpool, United Kingdom

    early life and training

    george stubbs, a renowned english painter, was born on august 25, 1724, in liverpool, united kingdom. his early life was marked by a sparse record of his activities until the age of 35, with most information sourced from ozias humphry's memoirs, based on conversations with stubbs in 1794. stubbs began his artistic journey at the age of 15, initially working under his father, a currier or leather-dresser. he later approached hamlet winstanley, a lancashire painter and engraver, for a brief apprenticeship. this short stint allowed him to study the collection at knowsley hall.

    artistic development and notable works

    stubbs's passion for anatomy led him to move to york in 1744, where he studied under surgeon charles atkinson at york county hospital. one of his earliest surviving works is a set of illustrations for john burton's textbook on midwifery, published in 1751. in 1756, stubbs rented a farmhouse in lincolnshire and spent 18 months dissecting horses, assisted by his common-law wife, mary spencer. this led to the publication of the anatomy of the horse in 1766, with original drawings now housed at the royal academy. stubbs's work was soon recognized by leading aristocratic patrons, including the 3rd duke of richmond, who commissioned three large pictures in 1759. this marked the beginning of his successful career, with works produced for several dukes and lords, culminating in the purchase of a house in marylebone, london.

    legacy and notable paintings

    stubbs's most famous work, whistlejacket, a painting of a prancing horse commissioned by the 2nd marquess of rockingham, is now housed at the national gallery in london. this and two other paintings for rockingham break with convention, featuring plain backgrounds.

    whistlejacket, a thoroughbred race horse rising on his hind legs, showcases stubbs's unparalleled skill in capturing the essence of horses.

    stubbs's series of paintings on a lion attacking a horse are early examples of the romantic movement, demonstrating his influence on 18th-century art.

    stubbs's legacy as an equine artist remains unmatched, with his works continuing to inspire and awe art enthusiasts worldwide.

    view stubbs's artwork at https://AllPaintingsStore.com/@/george_stubbs

    explore the national gallery in london's collection, featuring stubbs's notable works, at /en/art/show/art-8xyffg-en/

    learn more about stubbs's life and work on wikipedia at https://en.wikipedia.org/wiki/george_stubbs

    Museum

    Royal Academy of Arts

    On show in London, United Kingdom

    A Living Legacy within Burlington House

    To step into the Royal Academy of Arts is to enter a sanctuary where the pulse of creativity has beat steadily since 1768. Located in the heart of London, this is not merely a museum of silent relics, but a vibrant crucible of British art that continues to shape the national identity. Unlike many institutions that function primarily as scholarly archives, the Royal Academy remains a unique, artist-led bastion, dedicated to the very people who breathe life into canvas and stone. The institution’s genesis, rooted in the vision of King George III and the pioneering spirit of figures like Joshua Reynolds, was born from a desire to foster excellence and provide a platform for the fine arts to flourish through patronage and practice.

    The architectural grandeur of Burlington House serves as the perfect stage for this ongoing artistic drama. A magnificent Palladian masterpiece designed by William Chambers, the building itself exudes a timeless elegance that mirrors the sophistication of its holdings. As visitors wander through its symmetrical facades and light-drenched galleries, they experience an environment where history breathes alongside contemporary experimentation. From the expansive Main Galleries that invite deep contemplation of large-scale masterpieces to the intimate Schools and Studios where the next generation of talent is nurtured, every corner of this estate is designed to inspire awe and engagement.

    A Tapestry of Masterpieces and Modern Vision

    The collection held within these walls is a curated journey through the evolution of British aesthetic sensibility. It is a deliberate selection that avoids the overwhelming for the sake of the profound, focusing on works that capture the social nuances and emotional depths of their eras. One might find themselves captivated by the dignified portraits of the Georgian era, where the masterful brushwork of Reynolds captures the grace of the nobility, or moved by the intellectual clarity found in the canvases of Angelica Kauffman. The Academy’s strength lies in its ability to weave these historical threads with the sublime beauty of Victorian landscapes, such as those by John Constable, which evoke the enduring power of the English countryside through meticulous detail and evocative color.

    Yet, the Royal Academy refuses to be anchored solely to the past. It maintains a dynamic dialogue with the present, actively incorporating contemporary works that challenge conventional notions of beauty and form. This commitment to the "new" is perhaps most famously realized in the legendary Summer Exhibition. Since 1769, this open-call tradition has democratized the art world, allowing both established masters and emerging voices to stand side-by-side. For the collector or interior designer, this blend of historical prestige and contemporary edge offers an inexhaustible source of inspiration, making the Academy a vital hub where the stories of yesterday inform the masterpieces of tomorrow.

    An Immersive Destination for the Art Enthusiast

    Beyond its permanent treasures, the Royal Academy distinguishes itself through a program of temporary exhibitions that are nothing short of spectacular. By bringing together iconic works from global institutions like the National Gallery and the British Museum, the Academy offers rare, close-up encounters with some of the world's most celebrated art. These curated displays do more than show beauty; they delve into the technical brilliance and historical context behind every stroke, providing a rich educational experience that resonates with both the seasoned connoisseur and the curious newcomer.

    For those seeking to surround themselves with the essence of artistic excellence, the Royal Academy offers an unparalleled atmosphere. Whether it is through the stimulating lectures held in its historic theatre or the chance to witness the latest trends in a high-profile seasonal show, the institution remains a place where art is not simply observed, but actively debated and celebrated. It stands as a testament to the enduring power of vision, ensuring that Burlington House remains a beacon of cultural heritage and a cornerstone of the global art community.

    Where to read more

    Find this online

    QR code linking to the download page for Finished study for

    topimpressionists.com/en/art/download/george-stubbs-finished-study-for-D49GDR-en/

    Cite this artwork

    MLA
    Stubbs, George. Finished study for . 1758, Royal Academy of Arts. https://topimpressionists.com/en/art/george-stubbs-finished-study-for-D49GDR-en/
    APA
    Stubbs, George (1758). Finished study for [Painting]. Royal Academy of Arts. https://topimpressionists.com/en/art/george-stubbs-finished-study-for-D49GDR-en/
    Chicago
    George Stubbs. Finished study for . 1758. Royal Academy of Arts. https://topimpressionists.com/en/art/george-stubbs-finished-study-for-D49GDR-en/
    Harvard
    Stubbs, George (1758) Finished study for . Royal Academy of Arts. Available at: https://topimpressionists.com/en/art/george-stubbs-finished-study-for-D49GDR-en/

    Source: TopImpressionists.com — accessed Sept. 12, 2026

    Finished study for — George Stubbs Part 4 · Artist and museum

    Look closely

    Finished study for — George Stubbs

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: horse anatomy, skeleton study, scientific art. Do you agree? What would you add, or take away?
    4. Look back at Lion Attacking a Horse (1765), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Romanticism: Art that puts feeling, wildness and the power of nature above calm order and rules. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: TopImpressionists.com — accessed Sept. 12, 2026

    Finished study for — George Stubbs Part 5 · Look closely

    Art quiz

    Finished study for — George Stubbs

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of George Stubbs’ ‘Finished study for’?

      • A A detailed portrait of a human figure.
      • B An anatomical study of a horse skeleton.
      • C A landscape depicting a rural scene.

    2. 2. The graphite/charcoal technique used in ‘Finished study for’ is most characteristic of which artistic movement?

      • A Impressionism
      • B Romanticism
      • C Renaissance Realism

    3. 3. George Stubbs created this study in what year?

      • A 1734
      • B 1758
      • C 1806

    4. 4. What is the significance of the one-point perspective used in ‘Finished study for’?

      • A To create a sense of depth and spatial illusion.
      • B To emphasize the flatness of the artwork.
      • C To simplify the composition.

    5. 5. The anatomical precision displayed in ‘Finished study for’ reflects Stubbs's interest in which field?

      • A Botany
      • B Medicine and Anatomy
      • C Heraldry

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4A · 5B

    Source: TopImpressionists.com — accessed Sept. 12, 2026

    Finished study for — George Stubbs Part 6 · Art quiz

    Questions & Answers

    At what age did George Stubbs make "Finished study for"?

    When "Finished study for" was created in 1758, George Stubbs - born in 1724 - was 34 years old.

    Toward which tone does "Finished study for" lean?

    The dominant hue of "Finished study for" by George Stubbs is ochre to sepia. The hue is the underlying tone of the palette.

    In what year was "Finished study for" by George Stubbs created?

    The creation of "Finished study for" by George Stubbs is dated 1758.

    Is "Finished study for" by George Stubbs a portrait, landscape or square composition?

    "Finished study for" by George Stubbs is a tall composition. The proportions are worth checking before choosing a print size.

    At what size is "Finished study for" recommended to be printed?

    The recommended print size for "Finished study for" by George Stubbs is medium.

    What feeling is "Finished study for" associated with?

    The emotional tone recorded for "Finished study for" by George Stubbs is reflective. It summarizes the feeling the work expresses.

    Which artist is "Finished study for" attributed to?

    The artist behind "Finished study for" is George Stubbs. The work is catalogued under George Stubbs's name.