Horace Walpole (1717-97), the great eighteenth-century writer and critic, was so impressed by the picture that he composed a poem 'On seeing the celebrated Startled Horse, painted by the inimitable Mr. Stubbs' which paints a vivid word-picture of the frightened horse, 'rooted' to the spot by 'apprehension, horror, hatred, fear', with 'ears shot forward' and 'stiff projected mane'. They were almost certainly the pictures exhibited as companions at the Society of Artists in 1763. The dramatic theme of a lion attacking a horse is one of the most important in Stubbs's art and one which preoccupied him for over thirty years. Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online. Does this text contain inaccurate information or language that you feel we should improve or change? Image released under Creative Commons CC-BY-NC-ND (3.0 Unported). This animal portrait was credited by British art and Paul Mellon collection and then funded in 1994. Stubbs’s source for the subject was a well-known antique sculpture, which he had probably noted on a trip to Rome in 1754. ‘A Horse Frightened by a Lion’ was created in 1770 by George Stubbs in Romanticism style. The pair appear to be Stubbs's first fully developed essay on the 'Lion and Horse' theme and the earliest to be exhibited. The artist was inspired by his friend Osias Humphreys who encouraged him on his artwork and even published a manuscript of his artwork and history. George Stubbs, 1777. George Stubbs loved the dramatic theme of a lion attacking a horse. Later, he also painted another piece of art of the lion attacking the horse. The subject was a very popular one and in 1780 Stubbs used the same composition to model a clay bas-relief from which the pottery manufacturer Josiah Wedgwood produced decorative black basalt tablets. This is the first stage, as the horse scents the lion emerging from its cave and rises up in fright. From the marble's initial inspiration Stubbs developed the theme by making it episodic, imagining the scenes which must have preceded the horse's inevitable death. It also contains rocks that bring out the land forms view of the art. This magnificent image of animal terror, set in a dramatic and forbidding rocky landscape, was one of Stubbs’s favourite subjects. The difference between the two arts is that on the 'horse frightened by a lion' George Stubbs had used a brownish horse and brighter colors for the landscape. The dramatic theme of a lion attacking a horse preoccupied Stubbs for over thirty years. About this artwork Currently Off View Prints and Drawings Artist George Stubbs This painting comes from a series of four episodes in a terrifying attack on a passive horse. In about eighteen works in various media - including oils, enamels, engravings and relief models - he depicted the horse first scenting the lion's approach, then recoiling from the confrontation, then agonised as the lion leaps upon its back and, finally, in the fourth episode, devoured by the lion. This horse - not just frightened, but in mortal fear - is very different from the well-groomed creatures in most of Stubbs's racing scenes. Walker Art Gallery, Liverpool Liverpool, United Kingdom. The area was then an inaccessible, wild region that fascinated Stubbs. This painting represents the earliest stage of the terrifying encounter as the horse scents the emergence of the lion from its cave and rises up in fright. We would like to hear from you. This painting comes from a series of four painting in a terrifying attack on a horse. This is the first stage, as the horse scents the lion emerging from its cave and rises up in fright. This piece was done after Stubbs had seen a lion attacking a horse in Morocco. He used oil and light paints to design art. In this composition, the horse's head, still free, is outlined against an open sky, while in later episodes the animals are engulfed in the dark mass of the rocks, as the horse succumbs to its fate. Horse Frightened by a Lion George Stubbs 1770. 62, reproduced p.94 (colour)Illustrated Catalogue of Acquisitions 1976-8 Tate Gallery, 1979, pp. https://piction.clevelandart.org/cma/ump.di?e=F514DAAFBA3F1BC52AA8EE0774644E7119D48716A8EEDC3AD3DECAA1B18E330D&s=21&se=1086221206&v=5&f=1985.38_o2.jpg The painting is one of a pair with Horse Devoured by a Lion, acquired by Tate in 1976. Stubbs did a series of horse painting that made him make a collection of art which he named as 'Anatomy of the Horse.' All Rights Reserved. The Romantic mood is enhanced by the wild landscape setting that Stubbs chose - the dramatic rock formations of Creswell Crags, on the Nottinghamshire-Derbyshire border. In order to create a convincing portrayal of the animals in his 'Horse and Lion' subjects, Stubbs made numerous studies of a lion in Lord Shelburne's menagerie at Hounslow Heath, while the horse had earlier been the subject of meticulous scientific observation by the artist. Later, he also painted another piece of art of the lion attacking the horse. The original inspiration for the theme seems to have been a famous antique sculpture, the Capitoline group of a lion devouring a horse, which Stubbs probably saw on his visit to Rome in 1754. It was this version of A Horse Frightened by a Lion which Stubbs chose to adapt for engraving in 1777. 108, February 1965, pp. The scenery makes a suitably romantic background for the ‘sublime’ drama of the scene. This painting comes from a series of four episodes in a terrifying attack on a passive horse. It admirably combined his legendary anatomical precision as an animal painter with the heroic action, drama and sentiment required of the elevated genre of History Painting. Inspire your inbox – Sign up for daily fun facts about this day in history, updates, and special offers. This magnificent image of animal terror, set in a dramatic and forbidding rocky landscape, was one of Stubbs’s favourite subjects. George could first lay the feature of an animal in his painting then finalized with the background of the image when painting the art. 81-6 and appendix no.9Basil Taylor Stubbs, London 1971, p.34 Judy Egerton, George Stubbs 1724-1806, exhibition catalogue, Tate Gallery, 1984, cat. The pictures make narrative as well as visual sense as a pair, for they show the first and last episodes in the fatal attack by the lion on the horse. In these works, Stubbs wholly departs from the restrained portraiture of well-bred animals to echo the more sublime emotions of Romanticism: terror, anguish and the throes of death. Further ReadingBasil Taylor 'George Stubbs, "The Lion and Horse" Theme', Burlington Magazine, vol. 16-17. George Stubbs was an academic painter for a while and in 1763, he had done a piece of animal art that was almost similar to this one that was titled as 'horse frightened by a lion.'. View in Augmented Reality. Tate Papers no.13, Spring 2010 edition, featuring papers on The Sublime Object, Stubbs, Walpole and Burke: Convulsive Imitation and ‘Truth Extorted’, A Grey Hunter with a Groom and a Greyhound at Creswell Crags, A Horse Attacked by a Lion (A Lion Devouring a Horse), Newmarket Heath, with a Rubbing-Down House, Portrait of a Young Gentleman Out Shooting, Creative Commons CC-BY-NC-ND (3.0 Unported). This portrait brings out a frightening feeling even to the viewers. On this piece of art, George Stubbs painted a white frightened horse in a dark forest that seems so scary and strange. Nothing similar had previously appeared in British art yet it exploited a growing taste in the 1760s for the Sublime: subjects which created a sense of oppression and terror and which were experienced purely as emotion, not rationalised. Stubbs did a series of horse painting that made him make a collection of art which he named as 'Anatomy of the Horse.' The setting for this violent encounter is the harsh, rocky landscape of Creswell Crags in the Peak District. © www.georgestubbs.org 2018. It seized the imagination of his contemporaries and this and other versions of the theme became popular as prints. The horse looks strong though very terrified which makes its eyes and mouth very wide open, his fine neck hair blown by the wind and a presentation of a lion that is very swift and slow emerging from the dark forest on the background. 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