Five Brood Mares 

Curator: This is George Stubbs' "Five Brood Mares," an oil painting found here at Ascott House. The artwork seemingly dates back to an indistinct period. What strikes you first? Editor: It’s such an idyllic scene, almost overly peaceful. The light is soft, and the horses have this docile air about them, like everything is right in their world. The large, shady tree is also intriguing, acting like a chaperone to the horses. Curator: Absolutely. And I find myself drawn to how Stubbs’ artistic approach elevated animal portraiture. He situates these mares not just as livestock, but elevates them in a pastoral, almost aristocratic setting. This subtly challenges conventional hierarchies regarding species and class. What do you make of that? Editor: I agree completely. Contextually, it makes me consider the intersection of wealth, leisure, and animal husbandry in Georgian England. Horse breeding was a status symbol. By depicting these mares in such a tranquil manner, Stubbs inadvertently highlights the societal value placed on equine bloodlines and its inherent biases in gender expectations: The horse is feminine, delicate, an asset, passive. Curator: Precisely. He also captures the physicality of these animals with striking accuracy—his dedication to anatomical study is evident in the musculature and posture of each mare. Editor: He's done a magnificent job capturing different tones and complex physical features with oil. Even the nuances in their coat colors are impressive—the variations in the bays and greys. But the slightly saccharine sentimentality somewhat undermines the more complex readings. It seems intentionally softened for its patrons. Curator: I can agree with the last point but the softening, as you say, may actually add to it’s success, providing the painting a broader appeal as a piece fit for a country estate in a new era. So perhaps it really is an intersectional piece as a result, appealing to different sentiments simultaneously, a truly subversive feat. Editor: It's certainly something to think about as we move through the hall. Curator: Yes, indeed, I encourage our audience to ponder just that as they explore Ascott House.