Paper

Student Artwork Guide

Lion Devouring a Horse

Name Class Date

George Stubbs, Lion Devouring a Horse (1763), Tate Gallery. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
George Stubbs originaluniqueart.com/en/artists/george-stubbs/
Artist’s dates
1724 – 1806
Painted
1763
Medium
Oil On Canvas
Original size
69 x 104 cm
Movement
Romantic Realism Art that puts feeling, wildness and the power of nature above calm order and rules.
Held at
Tate Gallery originaluniqueart.com/en/museums/tate-gallery-london/
Artistic style
Detailed observation; Classical allegory
Influences
Antique Marble Sculpture
Notable elements or techniques
Dramatic realism; Anatomical precision
Subject or theme
Animal encounter; Mythological symbolism

In context

Lion Devouring a Horse — George Stubbs

How big is it?

The original measures 69 × 104 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1720
  2. 1730
  3. 1740
  4. 1750
  5. 1760
  6. 1770
  7. 1780
  8. 1790
  9. 1800

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 82 at death.

Painted when the artist was 39. The artist lived to 82. 20 of the 136 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of George Stubbs (1724–1806) ▲ this work, 1763 every dated painting, decade by decade

First works: up to 1765 Main working years: 1765–1785 Late works: from 1785

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/

Colours

Measured from the image

    Main colour

    Espresso #494336

    Catalogued palette

    • #494336
    • #171615
    • #807856
    • #D4E6E3

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Espresso
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by George Stubbs over the last twelve months — 12 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 66.7%
    2. 2 United States of America 15.4%
    3. 3 Singapore 5.7%
    4. 4 Hong Kong 4.1%
    5. 5 Canada 1.6%
    6. 6 Guatemala 1.6%
    7. 7 Australia 0.8%
    8. 8 Brazil 0.8%
    9. 9 Colombia 0.8%
    10. 10 Italy 0.8%
    11. · 2 other countries 1.7%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by George Stubbs

    1. 1 A Bay Hunter With Two Spaniels, 1777 20.0%
    2. 2 The Grosvenor Hunt, 1762 3.1%
    3. 3 Lion Attacking a Horse, 1765 2.5%
    4. 4 Horse Frightened by a Lion, 1770 2.5%
    5. 5 Tiger, 1771 2.5%
    6. 6 Finished study for, 1758 2.5%
    7. 7 Molly Long-legs with her Jockey, 1762 1.9%
    8. 8 Firetail with his Trainer by the Rubbing-Down House on Newmarket Heath, 1773 1.9%
    9. 9 Lord Grosvenor, 1765 1.9%
    10. 10 Rhinoceros, 1792 1.9%
    11. 11 The Prince of Wales, 1793 1.9%
    12. 12 Joseph Smyth Esquire, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse, 1764 1.9%
    13. 13 Fino and Tiny, 1791 1.9%
    14. 14 Prince of Wales Phaeton, 1793 1.9%
    15. 15 The Lincolnshire Ox, 1790 1.2%
    16. 16 A Lion Attacking a Stag, 1766 1.2%
    17. 17 James Stanley, 1755 1.2%
    18. 18 Harvest, 1785 1.2%
    19. 19 Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound, 1800 1.2%
    20. — Lion Devouring a Horse, 1763 this painting 0.0%

    Together these works take 54.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 194 works by this artist, of which 74 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Lion Devouring a Horse — George Stubbs

    The Drama of Nature Captured: George Stubbs' Lion Devouring a Horse

    To stand before George Stubbs’ magnificent "Lion Devouring a Horse" is to be plunged into a moment of raw, untamed drama. This 1763 oil on canvas does more than merely depict an animal encounter; it arrests time itself, freezing the apex of conflict in vivid, masterful strokes. Stubbs, celebrated for his unparalleled anatomical studies of equine life, elevates this scene beyond mere natural history painting into a profound meditation on power dynamics and survival. The sheer energy radiating from the central action—the lion’s powerful jaws closing upon the struggling form of the horse—is breathtaking, inviting the viewer to lean in, breathless, as if they too are witnessing the struggle firsthand.

    Mastery of Form and Color

    Stubbs' technical brilliance is immediately apparent. The artist possessed an almost scientific understanding of musculature, rendering both creatures with startling verisimilitude. Observe the texture: the lion’s coat, rendered in deep, brooding shades of brown and black, contrasts dramatically against the lighter, more yielding tones used for the horse and the surrounding landscape. This masterful use of color heightens the tension; the rich saturation of the foreground elements pops against the serene, yet dramatic, backdrop of the rocky terrain beneath a clear blue sky. The composition is inherently balanced, guiding the eye inexorably toward the violent nexus at the center, while the scattered trees and open sky provide just enough context to ground this intense spectacle in a believable, if theatrical, outdoor setting.

    Historical Echoes and Artistic Lineage

    The genesis of this powerful piece is rooted in classical antiquity. Stubbs himself noted that his inspiration stemmed from an antique marble sculpture encountered during his travels to Rome. This connection suggests that the painting is not just a record of wildlife, but a dialogue across centuries—a conversation between Renaissance artistic ideals and the vibrant realism of the Georgian era. By referencing such classical models while executing it in the rich, tactile medium of oil on canvas, Stubbs bridges epochs. It speaks to an enduring human fascination with mythic struggle, making the work timeless regardless of its 18th-century origins.

    Symbolism and Emotional Resonance

    Beyond the technical prowess lies a deeper symbolic resonance. The confrontation between the lion—often a symbol of raw, untamed masculine power—and the horse, frequently representing nobility, grace, or even humanity itself, creates an immediate tension. The act depicted suggests a brutal assertion of dominance. For the modern collector or decorator, this painting offers more than just decorative flair; it injects a palpable sense of narrative drama into any space. It is a conversation piece that demands attention, suggesting themes of struggle, inevitable change, and the raw beauty found at the precipice of conflict.

    Bringing the Drama Home

    For those who wish to capture this electrifying moment in their own interiors, acquiring a high-quality reproduction allows one to possess this masterpiece's energy without leaving the comfort of home. The ability of an oil painting medium to retain such depth and vibrancy ensures that the drama—the tension between the predator and the prey—remains immediate and visceral. It is an investment not only in art history but in a continuous source of dramatic, sophisticated inspiration for any discerning eye.

    Artist and museum

    Artist

    George Stubbs

    Born in Liverpool, United Kingdom

    early life and training

    george stubbs, a renowned english painter, was born on august 25, 1724, in liverpool, united kingdom. his early life was marked by a sparse record of his activities until the age of 35, with most information sourced from ozias humphry's memoirs, based on conversations with stubbs in 1794. stubbs began his artistic journey at the age of 15, initially working under his father, a currier or leather-dresser. he later approached hamlet winstanley, a lancashire painter and engraver, for a brief apprenticeship. this short stint allowed him to study the collection at knowsley hall.

    artistic development and notable works

    stubbs's passion for anatomy led him to move to york in 1744, where he studied under surgeon charles atkinson at york county hospital. one of his earliest surviving works is a set of illustrations for john burton's textbook on midwifery, published in 1751. in 1756, stubbs rented a farmhouse in lincolnshire and spent 18 months dissecting horses, assisted by his common-law wife, mary spencer. this led to the publication of the anatomy of the horse in 1766, with original drawings now housed at the royal academy. stubbs's work was soon recognized by leading aristocratic patrons, including the 3rd duke of richmond, who commissioned three large pictures in 1759. this marked the beginning of his successful career, with works produced for several dukes and lords, culminating in the purchase of a house in marylebone, london.

    legacy and notable paintings

    stubbs's most famous work, whistlejacket, a painting of a prancing horse commissioned by the 2nd marquess of rockingham, is now housed at the national gallery in london. this and two other paintings for rockingham break with convention, featuring plain backgrounds.

    whistlejacket, a thoroughbred race horse rising on his hind legs, showcases stubbs's unparalleled skill in capturing the essence of horses.

    stubbs's series of paintings on a lion attacking a horse are early examples of the romantic movement, demonstrating his influence on 18th-century art.

    stubbs's legacy as an equine artist remains unmatched, with his works continuing to inspire and awe art enthusiasts worldwide.

    view stubbs's artwork at https://AllPaintingsStore.com/@/george_stubbs

    explore the national gallery in london's collection, featuring stubbs's notable works, at /en/art/show/art-8xyffg-en/

    learn more about stubbs's life and work on wikipedia at https://en.wikipedia.org/wiki/george_stubbs

    Museum

    Tate Gallery

    On show in London, United Kingdom

    A Presence Along the Thames

    The Tate Gallery sits along the gentle curve of the Thames in Millbank, London. The architecture presents a layered narrative where neoclassical grandeur meets postmodern experimentation. Sidney R. J. Smith’s original design features imposing columns and expansive porticos that suggest an air of imperial ambition. This classical facade finds a sharp contrast in James Stirling’s Clore Gallery, which introduces unconventional materials and spatial arrangements into the landscape. The building itself reflects a tension between honoring tradition and embracing new intellectual curiosities.

    Walking through these halls, one moves from the heavy, historical weight of the original structures toward the daring interventions of later decades. The light shifts as you transition between the soaring ceilings of the older wings and the more experimental spaces. It is a place where the physical environment mirrors the evolution of the art it holds.

    The British Collection

    The collection spans over six centuries of British expression, moving from the meticulous panel paintings of the Tudor period to the emotionally charged portraits of the twentieth century. The museum holds significant works by J.M.W. Turner, including

    Snow Storm – Steamers on Red Wharf

    , which demonstrates a revolutionary approach to light and color. These landscapes capture a sense of movement and drama through precise brushwork.

    Other notable pieces within the galleries include:

    The evocative Pre-Raphaelite paintings that focus on mythology and romanticism.

    David Hockney's works reflecting the dynamism of post-war Britain.

    Salvador Dalí’s

    Cannibalism in Autumn

    , a work born from the anxieties of the Spanish Civil War.

    Georges Braque’s

    Mandola

    , a 1910 piece that utilizes fractured planes and muted ochre tones to deconstruct form.

    Camille Pissarro’s

    The Pork Butcher

    , an Impressionist depiction of a Parisian market stall from 1883.

    The museum also houses the works of Francis Bacon and various sculptures, prints, and decorative arts. The presence of the Turner Prize exhibitions brings a focus on contemporary British achievement to the halls, connecting the historical holdings with the current artistic dialogue.

    Where to read more

    Find this online

    QR code linking to the download page for Lion Devouring a Horse

    originaluniqueart.com/en/art/download/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/

    Cite this artwork

    MLA
    Stubbs, George. Lion Devouring a Horse. 1763, Tate Gallery. https://originaluniqueart.com/en/art/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/
    APA
    Stubbs, George (1763). Lion Devouring a Horse [Painting]. Tate Gallery. https://originaluniqueart.com/en/art/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/
    Chicago
    George Stubbs. Lion Devouring a Horse. 1763. Tate Gallery. https://originaluniqueart.com/en/art/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/
    Harvard
    Stubbs, George (1763) Lion Devouring a Horse. Tate Gallery. Available at: https://originaluniqueart.com/en/art/george-stubbs-lion-devouring-a-horse-8Y3JCL-en/

    Look closely

    Lion Devouring a Horse — George Stubbs

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: lion, horse, anatomy. Do you agree? What would you add, or take away?
    4. Look back at Lion Attacking a Horse (1765), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Romantic Realism: Art that puts feeling, wildness and the power of nature above calm order and rules. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Lion Devouring a Horse — George Stubbs

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of George Stubbs’ ‘Lion Devouring a Horse’?

      • A A depiction of a serene pastoral landscape.
      • B A dramatic confrontation between a lion and a horse.
      • C A portrait of a noble gentleman.
    2. 2. In what year was ‘Lion Devouring a Horse’ created?

      • A A. 1730
      • B B. 1763
      • C C. 1806
    3. 3. Where is ‘Lion Devouring a Horse’ currently housed?

      • A A. The Louvre Museum in Paris.
      • B B. The Metropolitan Museum of Art in New York City.
      • C C. Tate Gallery in London.
    4. 4. What artistic style is characteristic of George Stubbs’ work, as exemplified by ‘Lion Devouring a Horse’?

      • A A. Impressionism.
      • B B. Romanticism.
      • C C. Surrealism.
    5. 5. What inspired Stubbs's depiction of the lion and horse encounter?

      • A A. A dream he had during his travels.
      • B B. An antique marble sculpture that served as a model.
      • C C. Sketches from a botanical expedition.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3C · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Where can I see a preview of "Lion Devouring a Horse"?

    The Preview page of "Lion Devouring a Horse" lets you preview the artwork before ordering.

    In what year was "Lion Devouring a Horse" by George Stubbs created?

    "Lion Devouring a Horse" by George Stubbs was created in 1763.

    What type of artwork is "Lion Devouring a Horse" by George Stubbs?

    "Lion Devouring a Horse" by George Stubbs is classified as wall art. The category describes the kind of artwork the original is.