George Stubbs – A Horse Frightened By A Lion

George Stubbs, A Horse Frightened By A Lion, 1770

Clearly separating the art of Classicism and that of Romanticism is hard, but tracing the early occurrences of romantic tendencies in visual arts is, on the other hand, an easier pursuit. I always saw Henri Fusseli’s painting “The Nightmare” from 1781 as one of the earliest examples of Romanticism in the visual arts because both the mood and the theme show the artist’s exploration of darker topics; dreams and the irrational, something which would scarcely be interesting to painters from previous generations and even to his contemporaries. Still, there is another eighteenth century painter, George Stubbs, who imbued two of his works with a Romantic taste for wild, untamed nature and strong emotions and thereby exhibited what were to become the tendencies of Romanticism. The romantic pathos in his painting “A Horse Frightened by a Lion” is hard to ignore.

Stubbs was an Academic painter who specialised in animal painting, horses in particular, and even published a work called “Anatomy of the Horse” (1766) which is a result of his meticulous study of the anatomy of that fine elegant animal and shows his natural precision and dedication to study from nature directly, not from copies of others. He was also one of the first painters to paint animals that were exotic and therefore fascinating to the English audience and Europe in general, such as zebras and kangaroos. Stubb’s two paintings; “A Horse Frightened by a Lion” and “A Lion Attacking a Horse”, from 1770, were imagined as a pendant and show a distinctly romantic mood which was a great shift stylistically and arises directly from Edmund Burke’s theoretical work “On the Sublime and Beautiful”, first published in 1756. Criticism towards Burke tend to claim that he merely observed the direction of the art towards a new style, but Stubb’s example shows us how an artist was inspired by theory.

George Stubbs, A Lion Attacking a Horse, 1770

Here is an interesting fragment from the third part of Burke’s work, from the essay “Proportion not the cause of beauty in animals”: “Turn next to beasts; examine the head of a beautiful horse; find what proportion that bears to his body, and to his limbs, and what relation these have to each other; and when you have settled these proportions as a standard of beauty, then take a dog or cat, or any other animal, and examine how far the same proportions between their heads and their necks, between those and the body, and so on, are found to hold; I think we may safely say, that they differ in every species, yet that there are individuals, found in a great many species so differing, that have a very striking beauty.” So, Burke even mentions a horse in particular, an animal which had already been of great interest to Stubbs, and connects its proportion-less appearance with the aesthetic of sublime.

I already wrote a detailed post about the opposing aesthetics of the Beautiful and the Sublime, based on Immanuel Kant’s work, here. In short, the Sublime is that which inspires awe, fear and strong emotions. For example: thunderstorms, a very tall and strong oak, wild waves, volcano eruption, strong wind, ruin of a castle perched on top of the hill, a big mountain or a steep cliff. Here is what Burke said: “Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling. I say the strongest emotion, because I am satisfied the ideas of pain are much more powerful than those which enter on the part of pleasure.” (Of the Sublime)

In “A Horse Frightened by a Lion”, our eye is captivated by the glistening whiteness of the poor frightened horse in the dark forest where all sorts of ominous things might occur. How strongly his whole body reacts to the grim encounter with the lion; his wide-opened eye shows how startled he is, his muscles are emphasised and animated, his mouth open in despair, his fine light hair is blown away by the wind of fear. Lion’s patient face emerges from the darkness. Stubbs purposefully chose to portray a frightening sight from nature to stir the viewer’s feelings and awaken his empathy. In the second scene, “A Lion Attacking a Horse“, the poor horse is already attacked by the cruel lion in the mute darkness of the landscape full of rocks and shrubbery. The horse’s mouth, neck and feet are all contorted from the pain and fear. The figure of the lion is disappearing into the darkness and blending in with the wild nature, both are overpowering and sinister for the white fragile horse. On the left part of the painting, dark clouds are gathering, ready to wash the blood that is to flow with fresh rain drops.

George Stubbs, A lion attacking a horse, 1765

Stubbs painted an entire series on lions and horses, starting from the early 1760s, I’ve put two examples bellow, but they have certainly changed as decades passed. His focus shifted from the anatomy of the horse and the act of attack itself to the sublime mood and the horse’s reaction. The landscape grew darker and bigger, the horse is left nothing but a small white figure in the foreground while nature domineers. Compositions are similar, and the figure of the lion attacking the horse are nearly identical in two different versions from 1765 and 1770, but the mood differs greatly. The landscape is light and classical in the earlier paintings, whereas the later ones show the kind of melancholy beauty that later romantic landscapes are praised for. This series of paintings is a result of three things: Stubbs’s lifelong fascination with horses and study of anatomy, influence of Burke’s idea of the Sublime, and also Stubb’s visit to Rome in 1754 where he must have seen and memorised the Capitoline sculpture which shows a lion attacking a horse.

George Stubbs, Horse Frightened by a Lion, exhibited in 1763

Pietro Longhi – Clara the Rhinoceros

Many famous and refined beauties lived in the eighteenth century, but none possessed a beauty so striking and none kept the entire Europe fascinated as much as Clara, the rhinoceros. Her exotic beauty and chiseled features caught the eye of many artists of the day, Pietro Longhi and Jean-Baptiste Oudry to name a few. Clara loved being a part of the art world, but she never allowed the fame to get to her head and stayed humble to the end.

Pietro Longhi, Clara, the rhinoceros in Venice, 1751, oil on canvas, 62×50 cm

Clara (1738-1758) was an absolute Rococo sensation; orphaned at a very young age after her parents were allegedly killed by Indian hunters she was brought to Europe, in Rotterdam, and afterwards continued traveling the continent and bringing delight wherever she went. She had the life of a rock star two centuries before the rock stars; common folk admired her and talked about her, authors wrote about her in the encyclopedia, and painters painted her. In January 1751, she found herself in Venice right in the carnival time and she caused quite a sensation in the ever so inquisitive Venetian society. This was about time when Longhi painted her. In his painting, a small crown of eight figures has gathered to see Clara. The composition is very interesting; the wooden fence visually divides the canvas in two parts; the foreground where Clara is languidly eating hay, and the foreground where the figures of the observers are. Some of the curious Venetians are wearing masks, it was the carnival time after all, and why not.

Some men in the first row are wearing white masks which are called “bauta”. The female figures behind them are dressed in shining silks, woman in the blue gown is wearing a black “moretta mask” which is held by the teeth and the wearer is prohibited to speak while wearing it, but this also enable the silent language of seduction to develop; a bat of the eyelashes, a wink, a nod suddenly got intense meanings. The woman in green silk cloak is holding the same mask in her hand, but showing her pale oval face. The man on the far left, the arrogant laughing chap without the mask, is holding Clara’s horn which she had either rubbed off while in Rome, or it was cut off, but anyhow a new one later grew. Longhi’s painting is, common for his work, rather small. French painter Jean-Baptiste Oudry, on the other hand, had painted her two years prior to Longhi, in 1749, in full size. How monumental and regal she looks, big and shining against the landscape, one can really imagine her wearing a red velvet cloak and a crown with rubies.

Jean-Baptiste Oudry, Clara the Rhinoceros, 1749, oil on canvas, 310×456 cm

Pietro Longhi is renown for his intimate portrayals of the Venetian society in the mid eighteenth century or the settecento. While Antonio Canaletto focused on grandiose vedute, and Givanni Battista Tiepolo on dramatic religious paintings; Pietro Longhi offered a glimpse of what goes on “behind the closed doors”, literally and figuratively because he not only painted the witty interior scenes, but also gave us an insight in the frivolous and decadent Venetian society just before its final fall at the end of the eighteenth century.