|A demand for horses in art arose in the 18th century along with horse racing and fox hunting|
History of Horse Art Areas and Times:Art Bio of Sculptor Patricia Crane
Horse Artist: Four Decades of Horse Art by Patricia Crane
History of Horse Art Main Page
Early Oriental Horse
Illustrations of 18th Century Horse Art:
Pieter Tillemans art (1684-1734) Going Hunting
John Wootton art (1682-1764)
James Seymour(1702 -1752)
Horse Art of George Stubbs (1724-1806)
Stubbs portrait of the horse Whistlejacket
Horse Anatomy - George Stubbs
Sawrey Gilpin (1733-1807)
Jacques-Laurent Agasse (1767-1849)
In the Eighteenth Century in England, horses in artwork flourished. Having begun in the 17th century, the 18th saw the formation of a school animal and sporting art. This was also the century in which the Thoroughbred was perfected as a breed.
After England's break with the Roman Church, church patronage of the arts halted but artists did not stop creating art work. The subjects artists pursued were portraits of the wealthy, royalty included, and the things these patrons owned, like estate houses, pets and horses. In the 1700's and the early Eighteenth Century, artists began to paint the wealthy or their possessions, one of which was their horses.
The sports of horse racing and fox hunting created a demand that artists scrambled to fill. Patrons were looking for accurate portraits of their prized horses. John Wootton (late 1600's to mid 1700's), James Seymour (1702-1752) were two painters who were quick to follow the new trend.
In many ways Seymour’s art epitomizes the style of English sporting horse painting of the period. In a few of Seymour’s compositional works it is possible to see in rather primitive form, echoes of the earlier perspective devices of Uccello ( see the Renaissance page).
Wootton was popular as a painter of racehorses and was probably the first
distinguished equine artist, or sporting artist ;his subject matter included
the early Newmarket course. Newmarket was the scene of many horse portraits
throughout the century and was the headquarter of the Jockey Club. Painting
often for George II and the Prince of Wales, he was also closely associated
with the Royal Academy, being a founding member.
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