Portrait of a Monkey - George Stubbs
Archival giclée
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Description
A detailed oil study of a monkey by George Stubbs, capturing the animal with anatomical precision and dramatic lighting.
George Stubbs, a painter celebrated for his anatomical precision and scientific approach to animal subjects, produced this study of a monkey during the mid-eighteenth century. The work reflects the period's fascination with natural history and the classification of exotic species. Stubbs applies his characteristic rigour to the subject, capturing the texture of the fur and the specific musculature of the primate with careful observation.
The composition places the monkey in a dark, shadowed environment, which serves to focus the viewer's attention on the animal's form and its interaction with the fruit. The lighting is directional, illuminating the monkey's golden-brown coat against the deep, murky background of the tree trunk. This use of chiaroscuro creates a sense of volume and physical presence. The monkey reaches for a piece of fruit, a gesture that suggests a moment of natural behaviour rather than a static pose.
Stubbs was known for his extensive study of animal anatomy, often performing dissections to better understand the underlying structure of his subjects. This scientific background informs the rendering of the monkey, which avoids anthropomorphism in favour of a direct, objective representation. The inclusion of the fruit at the base of the tree adds a sense of scale and context to the scene. The palette is dominated by earthy tones, ranging from deep umbers and blacks to the warmer, golden hues of the monkey's fur and the oranges. This print captures the technical skill of an artist who bridged the gap between scientific illustration and fine art, offering a clear view of his approach to the natural world.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Portrait of a Monkey - George Stubbs
Artist Biography
George Stubbs
He was born in Liverpool, the son of a currier (a leather worker). He was largely self-taught. In his twenties he spent eighteen months in a farmhouse in Horkstow, Lincolnshire, dissecting horses. He suspended the carcasses from the ceiling using hooks and pulleys, peeled back the layers of skin and muscle, and drew every stage. The results were published as The Anatomy of the Horse (1766), one of the most accurate anatomical studies ever produced by an artist. The book established his reputation.
His horse portraits are commissioned works: wealthy landowners wanted their racehorses painted. Stubbs obliged, but his understanding of equine anatomy gave the paintings a presence that other sporting painters could not match. Whistlejacket, a life-size portrait of a chestnut stallion rearing against a plain background, is among the most striking animal paintings ever made. There is no landscape, no rider, no context. Just the horse.
He also painted dogs, exotic animals (a zebra, a rhinoceros, a moose), and rural scenes with labourers and haymakers. He experimented with enamel painting on ceramic tablets made by Josiah Wedgwood. He was elected to the Royal Academy but refused to submit a diploma piece, which meant he was never made a full Academician. He died in 1806, at eighty-one.
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