Stubbs’s painting of Whistlejacket in this second picture most likely prompted Rockingham to commission a monumental single portrait of the horse. More from This Artist Similar Designs. [19] It is consistently among the top ten most popular National Gallery paintings[20] in various forms of reproduction. He had had a passion for anatomy from his childhood, and in or around 1744, he moved to York, in the North of England, to pursue his ambition to study the subject under experts. The canvas is large, lacks any other content except some discreet shadows, and Stubbs has paid precise attention to the details of the horse's appearance. $16. $13. In 1762 Stubbs spent several months at Wentworth House and completed five paintings that were paid for in August. The canvas is large, lacks any other content except some discreet shadows, and Stubbs has paid precise attention to the details of the horse's appearance. All prints, paintings and photos included in www.georgestubbs.org are provided as an affiliate to Art.com who hold necessary permissions. He suspended the cadavers with block and tackle to better able sketch them in different positions. It is also widely acknowledged to be George Stubb’s masterpiece. Yet despite his almost scientific understanding of horse anatomy, Stubbs takes liberties with Whistlejacket’s pose, showing more of his body than would be possible in a natural pose in order to enhance the portrait’s dramatic effect. This painting was most likely commissioned to commemorate the alliance of the Milbanke and Melbourne families through marriage in April 1769. It is also widely acknowledged to be George Stubb’s masterpiece. George Stubbs achieved huge recognition as an artist of animals and particularly was impressive with dogs and horses. Stubbs’s understanding of horse anatomy was unsurpassed among British artists of the time. But here he eliminates any references to racing, focusing instead on Whistlejacket’s qualities as a prize physical specimen. More from This Artist Similar Designs. [27] He was "averagely successful at stud", and must have died before Rockingham's death in 1782, as he is not listed in records of the subsequent sale of the stud; he would have been in his thirties if alive. As a breeder of horses, Rockingham recognised that Whistlejacket was a prime specimen of pure-bred Arabian stock with the finest characteristics of the breed. Stubbs's knowledge of equine physiology was unsurpassed by any painter; he had studied anatomy at York and, from 1756, he spent 18 months in Lincolnshire where he carried out dissections and experiments on dead horses to better understand the animal's physiology. It was his final race, as he was then retired to stud. In other equestrian paintings, Stubbs often alluded to the sporting achievements of his subjects by situating them in a racecourse and by including jockeys and stable boys. Both his mane and tail are fuller, and his untrimmed mane is arranged in a natural plait. Despite suggestions that a rider was originally planned, Whistlejacket was always meant to be unmounted. His head was small and tapered with a broad forehead, delicately modelled ears and large wide nostrils. He was not nearly as famous a horse as his sire and grand-sire, but is mentioned in Act IV of Oliver Goldsmith's classic comic play She Stoops to Conquer (1773) when an elopement is planned: "I have got you a pair of horses that will fly like Whistlejacket". Whistlejacket is of an entirely different character, as the painting’s most striking feature – aside from its scale (it is almost three by two-and-a-half metres) – is the absence of a rider. These included Mares and Foals without a Background and Whistlejacket and two other Stallions in the Wentworth Stud with Joshua Cobb, The Head Groom (both in a private collection), which are notable for their classical frieze-like structure and lack of a background. Whistlejacket is an oil on canvas painting from about 1762 by the British artist George Stubbs showing the Marquess of Rockingham's racehorse approximately at life-size, rearing up against a plain background. He was a Thoroughbred race horse foaled in 1749 at the stud of Sir William Middleton, 3rd Baronet at Belsay Castle in Northumberland,[23] and named after a contemporary cold remedy containing gin and treacle. The careful notes and drawings he made during his studies were published in 1766 in The Anatomy of the Horse. Whistlejacket is an oil on canvas painting from about 1762 by the British artist George Stubbs showing the Marquess of Rockingham's racehorse approximately at life-size, rearing up against a plain background. Stubbs subsequently approached the Lancashire painter and engraver Hamlet Winstanley, and was briefly engaged by him in a sort of apprenticeship relationship, probably not more than several weeks in duration. Whistlejacket’s famous victory was not, however, the principal reason for the commission.
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