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This masterpiece of animal anatomy contains 36 plates that reproduce Stubbs' etchings. Based on the artist's own dissections and outline views, the illustrations feature extensive explanatory text. Full reproduction of 1766 edition.
George Stubbs is one of the greatest of British eighteenth-century painters, with a deep and unaffected sympathy for country life and the English countryside. This fully illustrated book outlines his career, followed by a catalogue raisonne (the first since Sir Walter Gilbey's short listing of 1898) of all his known works. One of the stickiest labels in the history of British art attached itself to Stubbs as 'Mr Stubbs the horse painter'. Over half of his paintings were of horses, each founded on the pioneering observations assembled (in 1766) in his book The Anatomy of the Horse; but Stubbs's wide-ranging subjects included portraits, conversation pieces and paintings of exotic animals from the Zebra to the Rhinoceros, as well as an extraordinarily sympathetic series of portraits of dogs.
A portrait of the painter presents his celebrated horse images and explores his fascination with anatomy and dissection, as well as his erratic relationship with the establishment.
A versatile genius whose oeuvre includes paintings, engravings, and detailed anatomical studies, George Stubbs (1724–1806) was fascinated by horses. This handsome book presents for the first time the wide range of his equine imagery, from refined portraits of racehorses to violent scenes of horses attacked by lions in the wild. Taking full account of the associations and status of the “noble horse” in eighteenth-century Britain and the colorful world of its devotees—both high and low—the authors examine Stubbs’s work from different points of view and offer many fresh interpretations. Malcolm Warner discusses how horses were regarded in Britain in Stubbs’s time, the unexpected connection between his horse-and-lion compositions and the creation of the English thoroughbred, and his classicism. Robin Blake examines the young Whig noblemen who were Stubbs’s first patrons, the grooms, jockeys, trainers, and other attendants who appear in his horse portraits, and his curious dealings with the Prince of Wales. The book also includes an essay by conservators Lance Mayer and Gay Myers on Stubbs’s experiments with wax and enamel. For admirers of Stubbs’s art, eighteenth-century English painting, and horses, this book is an essential addition to their bookshelves.
George Stubbs: 'all done from Nature' presents the first significant overview of Stubbs's work in Britain for more than 10 years and brings together 100 paintings, drawings and publications, from the National Gallery's Whistlejacket to pieces that have never been seen in public. George Stubbs: 'all done from Nature' accompanies an exhibition organised by MK Gallery in Milton Keynes, which will be shown at MK Gallery and the Mauritshuis in The Hague. The publication includes new writing on Stubbs with major essays by Jenny Uglow, Martin Myrone, Martin Postle and Nicholas Clee as well as new and existing poetry by Roger Robinson. Born in Liverpool in 1724, Stubbs was a quintessential product of the Enlightenment and embodied all of its core principles, questioning traditional authority and embracing the notion that humanity could be improved through the application of reason. Rather than trust to history and the untested example of his artistic and scientific precursors, Stubbs championed doing as a way of thinking and deployed pictorial representation as a form of knowledge and understanding. Today, Stubbs is recognised as one of the most original artists of the eighteenth century. His wide-ranging subjects included portraits, conversation pieces and pictures of exotic and domestic animals--horses included--and his obsession with scientific exactitude has drawn comparison with the work of Leonardo da Vinci. A major theme of the exhibition is anatomy. The show includes Stubbs's contributions to a pioneering treatise on midwifery and his preliminary work on A Comparative Anatomical Exposition of the Structure of the Human Body with that of a Tiger and a Common Fowl. It also includes the detailed studies and drawings that led to The Anatomy of the Horse--the greatest coming together of art and science in British art--alongside the actual skeleton of the legendary racehorse Eclipse who Stubbs depicted on several occasions.
The eighteenth-century practitioners of anatomy saw their own period as 'the perfection of anatomy'. This book looks at the investigation of anatomy in the 'long' eighteenth century in disciplinary terms. This means looking in a novel way not only at the practical aspects of anatomizing but also at questions of how one became an anatomist, where and how the discipline was practised, what the point was of its practice, what counted as sub-disciplines of anatomy, and the nature of arguments over anatomical facts and priority of discovery. In particular pathology, generation and birth, and comparative anatomy are shown to have been linked together as sub-disciplines of anatomy. At first sight anatomy seems the most long-lived and stable of medical disciplines, from Galen and Vesalius to the present. But Cunningham argues that anatomy was, like so many other areas of knowledge, changed irrevocably around the end of the eighteenth century, with the creation of new disciplines, new forms of knowledge and new ways of investigation. The 'long' eighteenth century, therefore, was not only the highpoint of anatomy but also the endpoint of old anatomy.
The eighteenth-century practitioners of anatomy saw their own period as 'the perfection of anatomy'. This book looks at the investigation of anatomy in the 'long' eighteenth century in disciplinary terms. This means looking in a novel way not only at the practical aspects of anatomizing but also at questions of how one became an anatomist, where and how the discipline was practised, what the point was of its practice, what counted as sub-disciplines of anatomy, and the nature of arguments over anatomical facts and priority of discovery. In particular pathology, generation and birth, and comparative anatomy are shown to have been linked together as subdisciplines of anatomy. At first sight anatomy seems the most long-lived and stable of medical disciplines, from Galen and Vesalius to the present. But Cunningham argues that anatomy was, like so many other areas of knowledge, changed irrevocably around the end of the eighteenth century, with the creation of new disciplines, new forms of knowledge and new ways of investigation. The 'long' eighteenth century, therefore, was not only the highpoint of anatomy but also the endpoint of old anatomy.
In a period when access to fine paintings was restricted, Stubbs's reputation was spread chiefly through his engravings. This catalogue raisonnE is the only single volume to contain all Stubbs's known engravings and provides a complete record of prints made by others after his works. Introductory essays consider Stubbs's relationships with other artists, particularly his engravers, and examine how the prints were originally marketed. Part 1 covers the more important prints issued during Stubbs's lifetime, some of which are published here for the first time. Each of the 218 entries is fully illustrated and accompanied by comparative material. Part 2 comprises 440 supplementary entries and indicates the nature and extent of Stubbs's posthumous reputation. This book also is the first substantial review of the work of a major 18th century British painter by reference to the important, but neglected, medium of reproductive prints.