George Stubbs and the Art of the Thoroughbred

George Stubbs (British, 1724–1806). Turf, with Jockey up, at Newmarket, ca. 1765. Oil on canvas; 38 x 49 in. (96.5 x 124.5 cm). Yale Center for British Art, Paul Mellon Collection

«The early patrons of British painter George Stubbs (1724–1806) were enthusiasts of the hunt or the racecourse who sought flattering portraits, not just pictures, of the thoroughbred horses they owned. One such portrait, Turf, with Jockey up, at Newmarket, is now on view in gallery 629 as part of the exhibition Paintings by George Stubbs from the Yale Center for British Art.»

Stubbs was born into an era when equestrian sports were on the rise. Between 1690 and 1730, over one hundred stallions were imported from Africa, the Middle East, Spain, and Italy to the breeding farms of England, where they were crossbred with English and Spanish mares. The objective was to produce horses of stamina, speed, good looks, and progenitive powers—all attributes that gave rise to the modern thoroughbred racehorse. Categorized as "Equus" in the 1771 edition of the Encyclopedia Britannica, the horse was considered a prized possession and faithful companion:

The horse, in a domestic state, is a bold and fiery animal; equally intrepid as his master, he faces danger and death with ardour and magnanimity. He delights in the noise and tumult of arms, and seems to feel the glory of victory: he exults in the chase; his eyes sparkle with emulation in the course. But though bold and intrepid, he is docile and tractable: he knows how to govern and check the natural vivacity and fire of his temper. He not only yields to the hand, but seems to consult the inclination of his rider. Constantly obedient to the impressions he receives, his motions are entirely regulated by the will of his master. He in some measure resigns his very existence to the pleasure of man. He delivers up his whole power; he reserves nothing; he will rather die than disobey.

Turf was a thoroughbred of Arabian stock, foaled in 1760 by Matchem (1748–1781) out of a British mare. Owned by the second viscount Bolingbroke, the bay colt had a successful racing career, chiefly at Newmarket, until his retirement through lameness in 1767. Painted by Stubbs in his prime, Turf embodies the qualities of a racehorse. His legs are thin and lanky, his knees are straight, his flank thin, his back strong. He is handsome and well-proportioned. His head is lean, his ears are small and pointed, his neck is arched toward the middle. Characteristic of a bay horse, his body color is brown while his points (mane, tail, and lower legs) are black. One foot is marked with a distinctive white "sock."

Choosing a low perspective and simple background, Stubbs accentuates Turf's exceptional qualities and spirited personality. Clearly bred for speed and agility, the horse exudes confidence—his eyes are bright and lively, his ears are bent forward, he stands erect and alert. Apparently focused on the racecourse, he carries his load with an easy grace. The diminutive size of the rider, small even for a jockey, heightens the strength and power of the horse. At a time when nature and outdoor sports were thought to be ennobling, Turf, with Jockey up, at Newmarket would have exemplified the spirit of the day.

Related Link
Paintings by George Stubbs from the Yale Center for British Art, on view April 6–November 8, 2015

Bibliography
Egerton, Judy. George Stubbs, Painter: Catalogue Raisonné, 230–1, fig. 72. New Haven: Yale University Press, 2007.

Trumble, Angus. "Diversions of the Field." In Apollo (April 2007): 60–7.

"Equus, the Horse." In Encyclopaedia Britannica; or a Dictionary of Arts and Sciences . . . by a Society of Gentlemen in Scotland, vol. II, 506. Edinburgh: For A. Bell and C. Macfarquhar, 1771.