Stubbs’ huge picture was painted in about 1762 for the 2nd Marquess of Rockingham, Whistlejacket’s owner and a great patron of Stubbs.
George Stubbs 1724 –1806 was born in Liverpool, the son of a leather worker, and he spent his early career in the north, painting portraits and developing his interest in anatomy.
Stubbs’ knowledge of equine physiology was unsurpassed by any painter; he had studied anatomy at York and, from 1756, he spent 18 months in Lincolnshire where he carried out dissections and experiments on dead horses to better understand the animal’s physiology, suspending the cadavers with block and tackle to sketch them in different positions.
The careful notes and drawings he made during his studies were published in 1766 as The Anatomy of the Horse. Even before the publication of his book, Stubbs’ dedication to his subject reaped him rewards: his drawings were recognized as more accurate than the work of other equine artists and commissions from aristocratic patrons quickly followed.
A chestnut (or sorrel) stallion, with lighter mane and tail, Whistlejacket was foaled in 1749 at the stud of Sir William Middleton, 3rd Baronet at Belsay Castle in Northumberland, and named after a contemporary cold remedy containing gin and treacle!
He has the flawless beauty of an Arabian thoroughbred.
He raced from 1752, winning many races. He was beaten only four times in his racing career, but was notoriously temperamental and difficult to manage.
Stubbs depicts him rising to a levade and pays intimate attention to the features of Whistlejacket’s body. Minute blemishes, veins and the muscles flexing just below the surface of the skin are all visible and reproduced with almost photographic accuracy. Despite the isolation of the subject from natural surroundings Stubbs manages to create a living animal.
Rockingham paid 60 guineas for the portrait. Contemporary opinion was that the painting was unfinished; it was believed that Rockingham had intended to create an equestrian portrait of George III, with Stubbs painting the horse and two other notable portrait and landscape painters filling in the king and the landscape respectively.
There is little evidence for this view: Stubbs produced other paintings of horses against blank backgrounds for Rockingham, nothing in the painting indicates that it is not complete, and the detail of the shadows cast by Whistlejacket’s rear legs on the ground suggest that this is how Stubbs intended the picture to be seen; the absence of background details intensifies the sense of power that the horse projects as it rears and twists its head.
The Rockingham family retained the painting until 1997, when the National Gallery, London acquired it for £11 million.
kate smedley said:
I knew nothing about it Jonie, a fascinating article thank you and what a stunning painting, if it’s still in the National Gallery I must have seen it but not appreciated the history behind it.
Movenon said:
Wow such beauty and strength in this pose. Lovely to know how it was put together. Shows just how for granted we take somethings in life. Well done Jonie I learnt out of this article. Thanks
Barbara said:
Wonderful painting! Thanks for the background on this!
lorilynn said:
growing up with my parents my father collected george stubb paintings. he was a big collector of english sporting art. lovely post and reminder.
Ann Smith said:
I so enjoyed the painting and the background of the painter. That name Whistlejacket is wonderful. Thanks for all the information!
revivor said:
Stubbs is a fine painter with some excellent racing pieces too