George Stubbs

British, 1724 - 1806

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British painter (1724–1806)

Explore Selected Works

George Stubbs, George Townley Stubbs, Death of the Doe, 1804, mezzotint on wove paper [proof before color], Purchased as the Gift of the Krugman Family in Honor of J. Sylvia Krugman and Ailsa Mellon Bruce Fund, 2017.17.1

Death of the Doe

George Stubbs, George Townley Stubbs · 1804 · mezzotint on wove paper [proof before color] ·  Accession ID  2017.17.1

George Stubbs, Reapers, 1791, stipple and roulette on laid paper, Purchased as the Gift of the Krugman Family Foundation Fund and Anonymous Donor, 2021.102.1

Reapers

George Stubbs · 1791 · stipple and roulette on laid paper ·  Accession ID  2021.102.1

George Stubbs, Labourers, 1789, mezzotint, Ailsa Mellon Bruce Fund, 1981.14.3

Labourers

George Stubbs · 1789 · mezzotint ·  Accession ID  1981.14.3

A dog with short, curly, white hair stands in a wooden boat facing our right almost in profile, though it turns its head to look at us in this vertical portrait painting. The dog spans nearly the width of the canvas and is close to us. The dog’s ears hang down the side of its face to its chin. Its eyes are light brown and rimmed in black, and the lower lids are pink. The dog has a thick torso covered with tight curls, and it has a short puff of a tail. Its front legs are straight and the hind legs might be slightly bent. The dog stands on a slat spanning the width of the boat, which is angled away from us to our left. The landscape behind the has a calm, sage-green body of water with a tall, willow-like tree to our left and a lower band of leafy trees to our right. A few smoke-gray clouds float over the treetops in an otherwise pale blue sky.
George Stubbs, White Poodle in a Punt, c. 1780, oil on canvas, Paul Mellon Collection, 1999.80.22

White Poodle in a Punt

George Stubbs · c. 1780 · oil on canvas ·  Accession ID  1999.80.22

A man stands with one arm resting over the back of a chestnut-brown horse as two women approach the animal in this horizontal portrait painting set in a landscape. The people have pale skin, dark eyes, and ash-brown or gray hair. At the center of the composition, the cleanshaven man stands with his body angled to our left as he looks off in that direction. He has a rounded nose, a dimple in his slight double chin, and he smiles faintly. A black tricorn hat sits on his gray hair, which curls up over his ears. His uniform has a long, pearl-white vest over a high, bright-white collar. His knee-length red coat is open, and the side closer to us is tucked back behind a sword hanging on that hip. The coat is lined with navy blue and gold down the front and around the cuff we see. The vest and coat have gold-colored buttons, and a gloved hand rests on the scabbard by his side. He wears white britches and knee-high, black boots with spurs. One ankle crosses in front of the other as he leans gently against the horse. The animal bends one back leg to rest along the front edge of its hoof as it reaches its muzzle forward, toward the women to our left. One woman sits in a wood armchair in front of the horse as she holds some pink flowers to the animal’s nose. She has a bumped nose, dark brows, and her delicate, pale pink lips are parted. Her hair is teased high and covered at the back with a white cloth. A voluminous, pearl-white, hooded shawl covers all of her upper body except the proffered hand. The lace edge of the white skirt puddles on the dirt ground. Behind her, the second woman leans over her crossed forearms, which rest on the back of the chair. This second woman has large eyes and delicate features. The top of her hair is also covered with a cloth, and she wears a black choker and a black apron over a sapphire-blue and white dress. A thick-trunked tree behind the women fills the left half of the composition, and its dark canopy reaches almost across the top half of the painting. A few plants line the far side of the dirt ground to our right. An expanse of silvery water curves like a C around a rocky promontory in the distance, also to our right. Smoke-gray mountains, hazy in the distance, stretch across the horizon, which comes about a third of the way up the composition. Some steel-gray and pale peach clouds cover much of the ice-blue sky.
George Stubbs, Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances, 1769, oil on canvas, Gift of Mrs. Charles S. Carstairs in memory of her husband, Charles Stewart Carstairs, 1952.9.4

Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances

George Stubbs · 1769 · oil on canvas ·  Accession ID  1952.9.4

Bibliography

1971

  • Parker, Constance-Anne. Mr Stubbs the Horse Painter. London, 1971.

  • Taylor, Basil. Stubbs. London, 1971.

1984

  • Egerton, Judy. George Stubbs 1724-1806. Exh. cat. Tate Gallery, London; Yale Center for British Art, New Haven, Connecticut. London and New Haven, 1984.

1988

  • Deuchar, Stephen. Sporting Art in Eighteenth-Century England: A Social and Political History. New Haven and London, 1988: 21, 105-126, 133, 145-148, 151-152, 164-165.

1992

  • Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 258-259.