جورج ستبز George Stubbs

جورج ستبز
George Stubbs
George Stubbs - self portrait.jpg
پورتريه ذاتي لجورج ستبز
وُلِدَ(1724-08-25)25 أغسطس 1724
Liverpool, Lancashire, England
توفي10 يوليو 1806(1806-07-10) (aged 81)
Marylebone, Middlesex, England
المهنةPainter
Works
A Lion Attacking a Horse, Whistlejacket
الحركةRomanticism

جورج ستبز George Stubbs (25 أغسطس 1724 - 10 يوليو 1806) كان رساماً بريطانياً، اشتهر برسوماته للجياد.

يُعتبر جورج ستبز أشهر من رسم الحصان من الفنانين القدامى والمعاصرين على حدٍّ سواء، وقد رسم لوحة ويسل‌جاكت الضخمة والشهيرة في حوالي العام 1762 بناءً على طلب الماركيز بروكنگهام صاحب الجواد. تخصص ستبس في رسم الخيل في حقبة تاريخية كانت فيها الخيول تتمتع بمكانة عظيمة واستثنائية، وكانت الطبقة الأرستقراطية في بريطانيا في ذلك الوقت شغوفة جداً بتربية واقتناء الخيول.

وقد درس الفنان بشكل معمق تشريح جسم الحصان وله دراسة تفصيلية عن الخصائص الجسدية للخيل. لكنه حرص في هذه اللوحة الرائعة على إظهار الانفعالات الداخلية للحيوان من قبيل توتره الواضح وقوّته الجبارة وروحه الحرة وعزيمته المتوثبة وتلك النظرة المرتعبة التي تنطق بها عيناه.

ابن ستبز جورج تاونلي ستبز كان نقاشاً engraver وطباعاً.

أفراس ومهور. 1763-68.

أسد يهاجم حصاناً

Horse Attacked by a Lion (1768–69), oil on panel, 25.7 x 29.5 cm., Yale Center for British Art

Stubbs began an informal series of works on the subject of a lion attacking a horse around 1762 or 1763, and he continued to explore and reinterpret the theme in at least 17 images over a period of about 30 years. These paintings are among his most celebrated and influential works.[1]:90 p. One art historian wrote "The appearance of the monumental picture now in the Mellon Collection [A Lion Attacking a Horse, ca. 1762-63] must be treated as one of the outstanding events in English eighteenth-century art for within the context of painting at that date its singularity as well as its inherent originality is most striking. Not since the publication of Hogarth's Harlot's Progress thirty years before had there occurred such an innovation."[2]:86 p. The iconic paintings are in fact among the earliest manifestations of Romanticism in painting, predating the work of more familiar masters of the movement such as William Blake, Eugène Delacroix, Francisco Goya, William Turner, and Théodore Géricault, who was known to be an admirer of both horses, and the work of George Stubbs.[3]:585 p.[4]:109 p. Jean Clay, professor of art history at the University of Paris, perceptively observed that not only does the energy and terror of the animals foreshadow the spirit of romanticism but, as Stubbs's series progressed, the horror seemed to diffuse and expand throughout the whole of the landscape: "an image that would fertilize the Romantic imagination and come to full flower a half-century later."[5]:150 p.

Lion Seizing a Horse, restored Roman copy of Hellenistic original, Palazzo dei Conservatori

The series are mostly oil paintings on canvas, but also include examples of enamel on copper, original engravings, and even a relief model in Wedgwood clay. The white horse was painted from one of the Kings Horses in the Royal Mews, secured for the artist by an architect friend, Mr. Payne. Stubbs was able to study a lion in life that was in the menagerie of William Petty, 2nd Earl of Shelburne at Hounslow Heath.[1]:90 p. The earliest work is a life-size painting of A Lion Attacking a Horse (ca. 1762–63), which was commissioned by the 2nd Marquess of Rockingham and now in the Yale Center for British Art. Art historian Basil Taylor postulated the theme was treated in three distinct episodes: Episode A, a lion prowling at some distance from a terrified horse; Episode B, a lion close to a terrified horse; Episode C a lion on the horse's back biting its flank. Interestingly, Stubbs first painted "Episode C", and it was not until later that he was inspired to go back and paint the moments leading up to the climatic event.[2]:81–82 p.

An anecdote regarding the origin of the subject matter emerged soon after the artist death, originally published in The Sporting Magazine in 1808, and reiterate often for well over a century and a half. Art historian H. W. Janson repeated it "On a visit to North Africa, he had seen a horse killed by a lion; this experience haunted his imagination, and from it he developed a new type of animal picture full of Romantic feeling for the grandeur and violence of nature."[3]:567 p. However, research published in 1965 produced a rather persuasive argument that Stubbs in fact never traveled to Africa, and the actual inspiration for the painting was an antique sculpture he had seen in a well documented 1754 stay in Rome. The sculpture, Lion Seizing a Horse, in the Palazzo dei Conservatori, Rome, is a restored Roman copy of a Hellenistic original. It has been a celebrated work since the Renaissance, admired by Michelangelo, included in guidebooks of Stubbs's day, and copied any number of times by various artist in marble, bronze, and prints, including an 18th-century marble copy in the collection of Stubbs's patron Henry Blundell, who also acquired one of the paintings by Stubbs.[1]:90–91 p.[2]

  • A Lion Attacking a Horse (ca. 1762–63), oil on canvas, 243.8 x 332.7 cm., Yale Center for British Art

    A Lion Attacking a Horse (ca. 1762–63), oil on canvas, 243.8 x 332.7 cm., Yale Center for British Art

  • Horse Devoured by a Lion (1763), oil on canvas, 69.2 x 103.5 cm., Tate Britain

    Horse Devoured by a Lion (1763), oil on canvas, 69.2 x 103.5 cm., Tate Britain

  • Horse Frightened by a Lion (ca. 1763 -1768), oil on canvas, 70.5 x 104.1 cm., Yale Center for British Art

    Horse Frightened by a Lion (ca. 1763 -1768), oil on canvas, 70.5 x 104.1 cm., Yale Center for British Art

  • A Lion Attacking a Horse (1765) oil on canvas, 69 x 100.1 cm., National Gallery of Victoria

    A Lion Attacking a Horse (1765) oil on canvas, 69 x 100.1 cm., National Gallery of Victoria

  • A Lion Attacking a Horse (1770), oil on canvas, 38 in. x 49 1/2in., Yale Center for British Art

    A Lion Attacking a Horse (1770), oil on canvas, 38 in. x 49 1/2in., Yale Center for British Art

الذكرى

Two Gentlemen Going a Shooting, with a View of Creswell Crags (ca. 1767), oil on canvas, 54 x 64 cm., National Museum in Warsaw

Stubbs remained a secondary figure in British art until the mid-twentieth century. The art historian Basil Taylor and art collector Paul Mellon both championed Stubbs's work. Stubbs's Pumpkin with a Stable-lad was the first painting that Mellon bought in 1936.[6] Basil Taylor was commissioned in 1955 by Pelican Press to write the book Animal Painting in England – From Barlow to Landseer, which included a large segment on Stubbs. In 1959 Mellon and Taylor first met and bonded over their appreciation of Stubbs. This led Mellon to create the Paul Mellon Foundation for British Art (the predecessor of the Paul Mellon Centre for Studies in British Art) with Taylor as the director.[7] Mellon eventually amassed the largest collection of Stubbs paintings in the world which would become a part of his larger collection of British art that would become the Yale Center for British Art in Connecticut, USA.[8] In 1971, Taylor published the seminal catalogue, Stubbs.[9]

The record price for a Stubbs painting was set by the sale at auction of Gimcrack on Newmarket Heath, with a Trainer, a Stable-Lad, and a Jockey (1765) at Christie's in London in July 2011 for £22.4 million. It was sold by the Woolavington Collection of sporting art at Cottesbrooke Hall, Northamptonshire; the buyer was unidentified.[10]

The Royal Collection of the British royal family holds 16 paintings by Stubbs.[11]

Two paintings by Stubbs were bought by the National Maritime Museum in Greenwich, London after a public appeal to raise the £1.5 million required.[12] The two paintings, The Kongouro from New Holland and Portrait of a Large Dog were both painted in 1772.[12] Depicting a kangaroo and a dingo respectively, they are the first depictions of Australian animals in Western art.[12]

His work was shown in a retrospective exhibition at the Whitechapel Gallery in London, 27 February – 7 April 1957.[13] Tate Britain, in conjunction with the Yale Center for British Art, organized the largest exhibition ever devoted to Stubbs (up to that time) in 1984, which travelled to New Haven in 1985.[1]:7 p.

Stubbs' work was shown in Stubbs and the Horse, an exhibit co-organized and exhibited at The Kimbell Art Museum, Fort Worth, Texas[14] (exhibited 14 November 2004–6 February 2005), the Walters Art Museum, Baltimore[15] (exhibited 13 March–29 May 2005), and the National Gallery, London[16] (Summer 2005). The exhibition catalog was written by Malcolm Warner and Robin Blake.

From 6 April–8 November 2015, the Metropolitan Museum of Art displayed Paintings by George Stubbs from the Yale Center for British Art.[17]

في الثقافة الشعبية

A fictional painting by Stubbs plays a key role in the Robert Galbraith novel Lethal White.

Anthony Jennings' 2024 novel Mister Stubbs explores the painter's early years, focusing on his time in York during Bonnie Prince Charlie's rebellion of 1745, and his mysterious trip to Rome, where Bonnie Prince Charlie's father, the exiled Jacobite James Edward Stuart, had his court.

معرض

  • Racehorses Exercising at Goodwood (1759–60), oil on canvas, 127.5 x 204 cm.. Goodwood House

    Racehorses Exercising at Goodwood (1759–60), oil on canvas, 127.5 x 204 cm.. Goodwood House

  • Joseph Smyth Esq, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse (1762–64), oil on canvas, 64.2 x 76.8 cm., Fitzwilliam Museum

    Joseph Smyth Esq, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse (1762–64), oil on canvas, 64.2 x 76.8 cm., Fitzwilliam Museum

  • Hound Coursing a Stag (ca. 1762), oil on canvas, 100.1 x 125.8 cm., Philadelphia Museum of Art

    Hound Coursing a Stag (ca. 1762), oil on canvas, 100.1 x 125.8 cm., Philadelphia Museum of Art

  • Cheetah and Stag with Two Indians (ca. 1765), oil on canvas, 182.7 x 275.3 cm., Manchester Art Gallery

    Cheetah and Stag with Two Indians (ca. 1765), oil on canvas, 182.7 x 275.3 cm., Manchester Art Gallery

  • Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances (1769), oil on canvas, 100.2 x 126.6 cm., National Gallery of Art

    Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances (1769), oil on canvas, 100.2 x 126.6 cm., National Gallery of Art

  • Reapers (1785), oil on canvas, 90 x 137 cm., Tate Britain

    Reapers (1785), oil on canvas, 90 x 137 cm., Tate Britain

  • Haymakers (1785), oil on panel, 89.5 x 132.5 cm., Tate Britain

    Haymakers (1785), oil on panel, 89.5 x 132.5 cm., Tate Britain

  • Bulls Fighting (1786), oil on panel, 61.6 x 82.6 cm., Yale Center for British Art

    Bulls Fighting (1786), oil on panel, 61.6 x 82.6 cm., Yale Center for British Art

  • The Farmer's Wife and the Raven (1786), oil on millboard, 67.3 x 97.8 cm., Yale Center for British Art

    The Farmer's Wife and the Raven (1786), oil on millboard, 67.3 x 97.8 cm., Yale Center for British Art

  • Soldiers of the 10th Light Dragoons (1793), oil on canvas, 102 x 128 cm., Royal Collection

    Soldiers of the 10th Light Dragoons (1793), oil on canvas, 102 x 128 cm., Royal Collection

جياد

كلاب

  • The Pointer (ca. 1766), oil on canvas, 61 x 70 cm., Neue Pinakothek

    The Pointer (ca. 1766), oil on canvas, 61 x 70 cm., Neue Pinakothek

  • Water Spaniel (1769), oil on canvas, 90.2 x 116.8 cm., Yale Center for British Art

    Water Spaniel (1769), oil on canvas, 90.2 x 116.8 cm., Yale Center for British Art

  • Brown and White Norfolk or Water Spaniel (1778), oil on panel, 80.6 x 97.2 cm., Yale Center for British Art

    Brown and White Norfolk or Water Spaniel (1778), oil on panel, 80.6 x 97.2 cm., Yale Center for British Art

  • White Poodle in a Punt (ca. 1780), oil on canvas, 127 x 101.5 cm., National Gallery of Art

    White Poodle in a Punt (ca. 1780), oil on canvas, 127 x 101.5 cm., National Gallery of Art

  • A Couple of Foxhounds (1792), oil on canvas, 127 x 101.6 cm., Tate Britain

    A Couple of Foxhounds (1792), oil on canvas, 127 x 101.6 cm., Tate Britain

  • Black and White Spaniel Following a Scent (1793), oil on canvas, 25 x 30 in., Virginia Museum of Fine Arts

    Black and White Spaniel Following a Scent (1793), oil on canvas, 25 x 30 in., Virginia Museum of Fine Arts

الحياة البرية الغريبة

  • Zebra (1763), oil on canvas, 102.9 x 127.6 cm., Yale Center for British Art

    Zebra (1763), oil on canvas, 102.9 x 127.6 cm., Yale Center for British Art

  • The Moose (1770), oil on canvas, 61 x 70.5 cm., Hunterian Art Gallery

    The Moose (1770), oil on canvas, 61 x 70.5 cm., Hunterian Art Gallery

  • Two Leopards (c. 1776), oil on panel, 90.5 x 137.4 cm., private collection

    Two Leopards (c. 1776), oil on panel, 90.5 x 137.4 cm., private collection

  • Greenland Falcon (1780), oil on panel, 81.3 x 99.1 cm., Yale Center for British Art

    Greenland Falcon (1780), oil on panel, 81.3 x 99.1 cm., Yale Center for British Art

  • Rhinoceros (ca. 1780–91), oil on canvas, 69.9 x 92.7 cm., private collection

    Rhinoceros (ca. 1780–91), oil on canvas, 69.9 x 92.7 cm., private collection

  • The Monkey (1799), oil on canvas, 70 x 55.9 cm., Walker Art Gallery

    The Monkey (1799), oil on canvas, 70 x 55.9 cm., Walker Art Gallery

قائمة أعمال مختارة

Self-Portrait (ca. 1759) oil on copper, 14 x 10.8 cm., Yale Center for British Art
Sir John Nelthorpe, 6th Baronet (ca. 1765–75), oil on canvas, 127 x 101.5 cm. private collection
Richard Wedgewood (ca. 1765–75), oil on canvas, Wedgewood Museum
The Fall of Phaëton (1777), oil on canvas, 96.5 x 122 cm., National Trust
In the Yale Center for British Art
  • Self-Portrait (1759)
  • The Countess of Coningsby in the Costume of the Charlton Hunt (c. 1760)
  • Lustre, held by a Groom (c. 1762)
  • Newmarket Heath, with the King's stables rubbing house at the finish of the Beacon Course (c. 1765)
  • Turf, with Jockey up, at Newmarket (c. 1766)
  • A Lion Attacking a Horse (1762)
  • Two Gentlemen Going a Shooting, with a View of Creswell Crags, Taken on the Spot (c. 1767)
  • Two Gentlemen Going a Shooting (c. 1768)
  • Two Gentlemen Shooting (c. 1769)
  • A Repose after Shooting (1770)
  • Zebra (exhibited 1763)
  • Pumpkin with a Stable-lad (c. 1774)
  • Sleeping Leopard (1777)
  • Brown and White Norfolk or Water Spanield (c. 1778)
  • Greenland Falcon (c. 1780)
  • Phaeton with a Pair of Cream Ponies and a Stable-Lad (between 1780 and 1784)
  • Labourers (1781)
  • Bulls Fighting (c. 1786)
  • The Farmer's Wife and the Raven (1786)
  • Reapers (1795)
  • Freeman, the Earl of Clarendon's gamekeeper, with a dying doe and hound (1800)
  • A Comparative Anatomical Exposition of the Human Body with that of a Tiger and a Common Fowl (1795–1806)

In the Tate Gallery

  • A Grey Hunter with Groom and a Greyhound at Creswell Crags (c.1762)
  • Horse Devoured by a Lion (exhibited 1763)
  • Horse Frightened by a Lion (exhibited 1763)
  • Mares and Foals in a River Landscape (c.1763‑1768)
  • Newmarket Heath, with a Rubbing-Down House (c.1765)
  • Otho, with John Larkin up (1768)
  • Horse Attacked by a Lion (1769)
  • Mother and Child (1774)
  • Horse in the Shade of a Wood (1780)
  • Leopards at Play (1780)
  • Portrait of a Young Gentleman Out Shooting (1781)
  • Haymakers (1785)
  • Reapers (1785)
  • Bay Hunter by a Lake (1787)
  • A Foxhound published (1788)
  • A Foxhound Viewed from Behind published (1788)
  • A Horse Attacked by a Lion (A Lion Devouring a Horse) (published 1788)
  • A Lion Resting on a Rock published (1788)
In the Royal Collection
  • "Pumpkin" with William South Up (c.1770)
  • Sir Sidney Medows (1778)
  • John Christian Santhague (1782)
  • A Rough Dog (1790)
  • A Bay Horse with a Groom (1791)
  • John Gascoigne with a Bay Horse (1791)
  • Portrait of a Gentleman (1791)
  • Fino and Tiny (1791)
  • Baronet with Samuel Chifney (1791)
  • A Red Deer, a Buck and a Doe (1792)
  • Soldiers of the 10th Light Dragoons (1793)
  • William Anderson with two Saddle-Horses (1793)
  • A Grey Horse (1793)
  • A Grey Horse (1793)
  • Laetitia, Lady Lade (1793)
  • The Prince of Wales's Phaeton (1793)
في National Museums Liverpool
  • A Lion and Tiger (1779)
  • A Monkey (1799)
  • 'Gnawpost' and Two Other Colts (c.1793)
  • Haycarting (1795)
  • Haymakers (1794)
  • Horse and Lioness (1775–1800)
  • Horse Frightened by a Lion
  • James Stanley (1755)
  • 'Molly Long-Legs' with Her Jockey
  • Self Portrait on a White Hunter (1782)
  • The Farmer's Wife and the Raven (1782)
In the National Gallery, London
  • Whistlejacket (1762)
  • A Gentleman driving a Lady in a Phaeton (1787)
  • The Milbanke and Melbourne Families (c.1769)
In the National Maritime Museum, Greenwich
Hunterian Museum and Art Gallery, University of Glasgow
  • The Moose (1770)
  • The Nilgai (1769)
  • A Blackbuck (1770–1780)
Hunterian Museum (London)
  • The Yak of Tartary (1791)
  • Rhinoceros (1790–1792)
  • Drill and Albino Baboon (before 1789)
British Sporting Art Trust
  • A Pointer (a pair)
  • A Spaniel (a pair)
  • Lord Clanbrassil with Hunter Mowbrary (1769)
  • Fighting Stallions (1791)
National Trust
National Gallery of Art, Washington
Victoria and Albert Museum

انظر أيضاً

المراجع

  1. ^ أ ب ت ث Egerton, Judy. 1984. George Stubbs 1724-1806. Tate Gallery Publications. Milbank, London. 248 pp. ISBN 0-946590-12-5
  2. ^ أ ب ت Taylor, Basil. 1965. George Stubbs: "The Lion and the Horse" Theme. The Burlington Magazine, 107 (743): 81-87
  3. ^ أ ب Janson, H. W. 1977. History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day (2nd, edition). Harry N. Abrams, Inc., publishers. New York, 767 pp. ISBN 0-8109-1052-7
  4. ^ Claudon, Francis. 1980. The Concise Encyclopedia of Romanticism. Chartwell Books, Inc. Secaucus, New Jersey. 304 pp. ISBN 0-89009-707-0
  5. ^ Clay, Jean. 1980. Roamanticism. Chartwell Books, Inc. Secaucus, New Jersey. 320 pp. ISBN 0-89009-588-4
  6. ^ Angus Trumble (January 2007). "Collection Record: Pumpkin with a Stable-lad". Yale Center for British Art.
  7. ^ "History of the Paul Mellon Centre 1962–1969". Paul Mellon Centre for Studies in British Art. Archived from the original on 29 April 2018. Retrieved 28 April 2018.
  8. ^ "George Stubbs in the Collection of Paul Mellon: A Memorial Exhibition". Yale Center for British Art. Archived from the original on 17 September 2019. Retrieved 28 April 2018.
  9. ^ Basil, Taylor (1971). Stubbs. London: Phaidon Press. ISBN 0-714-81498-9.
  10. ^ Scott Reyburn (6 July 2011). "Stubbs, Gainsborough Records Boost $80 Million Auction". Bloomberg News.
  11. ^ "Search results: George Stubbs (1724–1806)". Royal Collection.[dead link]
  12. ^ أ ب ت "George Stubbs' kangaroo and dingo paintings to stay in UK". BBC News. 6 November 2013. Retrieved 6 November 2013.
  13. ^ Whitechapel Gallery
  14. ^ "Stubbs and the Horse | Kimbell Art Museum". kimbellart.org (in الإنجليزية). 2004-11-14. Retrieved 2025-08-13.
  15. ^ "Stubbs and the Horse". The Walters Art Museum (in الإنجليزية الأمريكية). Retrieved 2025-08-13.
  16. ^ Jones, Sam (2005-06-29). "Stubbs exhibition opens". The Guardian (in الإنجليزية البريطانية). ISSN 0261-3077. Retrieved 2025-08-13.
  17. ^ "Paintings by George Stubbs from the Yale Center for British Art". The Metropolitan Museum of Art. Retrieved 2025-08-13. {{cite web}}: Check |url= value (help)

للاستزادة

وصلات خارجية

This article contains content from Wikimedia licensed under CC BY-SA 4.0. Please comply with the license terms.
تمّ الاسترجاع من "https://www.marefa.org/w/index.php?title=جورج_ستبز&oldid=4163503"