Mares and Foals in a Mountainous Landscape - George Stubbs
Archival giclée
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Description
A classic oil painting by George Stubbs, featuring a group of horses in a serene, mountainous setting, noted for its anatomical precision and balanced composition.
George Stubbs is widely recognised for his scientific approach to animal anatomy, a discipline he pursued with rigour throughout his career. This work, depicting a group of horses in an open setting, demonstrates his ability to combine anatomical precision with a calm, balanced composition. The horses are arranged across the foreground, their forms rendered with a focus on muscular structure and posture. Stubbs avoids excessive drama, preferring a quiet observation of the animals in their environment.
The background features a sweeping, atmospheric view of hills and water, painted with a soft, diffused light that contrasts with the clarity of the figures in the foreground. A large, dark tree on the left provides a vertical anchor, framing the scene and creating a sense of depth. The palette is restrained, relying on earthy tones, muted greens, and the stark white of the central mare to guide the viewer's eye across the canvas.
Stubbs spent significant time studying the skeletal and muscular systems of horses, which allowed him to depict them with a level of accuracy that was unusual for his time. His work often moved away from the heroic or mythological depictions of animals common in earlier periods, opting instead for a more objective, observational style. This painting is characteristic of his series of 'Mares and Foals', where he explored the social dynamics and physical variations of the animals. The composition is carefully constructed, with the spacing between the horses suggesting a natural, unforced interaction. The result is a work that captures the physical presence of the animals while maintaining a sense of harmony with the surrounding environment.
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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.
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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
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- 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
Mares and Foals in a Mountainous Landscape - 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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