Sir Charles Bunbury with Cox, his Trainer, and a Stable-Lad: A Study for ‘Surprise and Eleanor’ Possibly 1801
Dimensions: support: 470 x 638 mm
Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Benjamin Marshall's "Sir Charles Bunbury with Cox, his Trainer, and a Stable-Lad: A Study for ‘Surprise and Eleanor’." I'm struck by the flatness of the figures against the muted background. What do you see in terms of formal composition? Curator: The artist’s choice of a limited palette and shallow depth emphasizes the linear quality of the figures. Notice how Marshall uses the varying heights and the arrangement of hats to create a subtle rhythm across the canvas. Observe also the interplay of light and shadow, particularly how it sculpts the faces and defines the drapery. Editor: That's fascinating. I hadn't considered the rhythmic aspect before. Thanks! Curator: Indeed. Reflecting on the composition, we gain insight into how Marshall directs the viewer’s eye, prompting a contemplation of form over narrative.
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http://www.tate.org.uk/art/artworks/marshall-sir-charles-bunbury-with-cox-his-trainer-and-a-stable-lad-a-study-for-surprise-t02365
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This unfinished oil sketch is a preparatory study for a painting of two horses, Surprise and Eleanor, in a private collection. The three figures here form a group on the right in the finished picture. They are apparently assessing Eleanor's chances of success before the start of a race. The filly's owner, Sir Charles Bunbury, at the centre of the group, was a prominent figure in the racing world of the time.Marshall's output consisted predominantly of horse-racing scenes. He was somewhat unusual as a sporting artist in the considerable attention he paid to the likenesses and characters of human figures. This is perhpas as a result of his early training under the portrait painter Lemuel Francis Abbot (c.1760-1802). Gallery label, September 2004
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