![]() I am grateful to Richard Ormond for his insights into the painting’s technique and attribution. Alison Hokanson 2021 I am grateful to Jeremy Hurst, Big Game Unit Leader, Division of Fish & Wildlife, New York State Department of Environmental Conservation, for his thoughts into the breed and condition of the stag. (122.5 x 151.8cm.) Provenance Painted for Richard Heathcote the owner of the horse Unwin Heathcote the Heathcote family Puttick and Simpson, (unsold) and by descent to Michael Heathcote Christies, 6 November 1959, lot 97 (1,200 gns. Further comparative study of the painting’s technique may clarify its place in the artist’s work. (1802-1873) Scarbro, the Old Cover Hack 48¼ x 59¾in. However, the canvas support, the emptiness of the background, and the manner and medium in which the legs and antlers are indicated are unusual for Landseer. It was commissioned as part of a series of three panels to hang in the Palace of Westminster, in London. ![]() In terms of its state of finish, it is most akin to A Dead Stag, with Sketched Figures of a Ghillie and Hounds (see figs. The Monarch of the Glen is an oil-on-canvas painting of a red deer stag completed in 1851 by the English painter Sir Edwin Landseer. In terms of subject, it most closely resembles the pair Deer Fallen from a Precipice and Deer Just Shot. The picture seems to relate to a group of small oils in varying degrees of finish which depict dead and dying deer, made between about 18. The pathos of its death-the grandeur and beauty of a wild animal reduced to helpless pain and exhaustion-is amplified by its poignant gaze at the viewer. The stag’s lolling tongue, drooping ears, and the reddish, matted fur on its underbelly indicate that it is fatally wounded. An alternative position for the animal’s rump is roughed out above the haunches in pencil and in pen and ink. The head and body of the deer are realized with swift, rich strokes of paint that evoke the varied textures of the animal’s coat, while the lower legs and antlers are deftly drawn in pen and ink and left largely unpainted. The Painting: The painting depicts a red deer stag lying on a patch of grass. His paintings were highly distributed during his time as engravings, in most cases created by Thomas, his elder brother.The Artist: For biographical information on Landseer, see the catalogue entry for The Met 2018.289.4. He was an excellent animal painter who used oil paint on canvas to present his work, especially during the Victorian era due to his style of giving his animal painting scenes a moral aspect. Artist: Sir Edwin Henry Landseer (British, London 18021873 London) Date: ca. Edwin Henry Landseer learnt his sculpture and painting skills from various artists, including his father, as well as from Benjamin Robert Haydon, a history painter who motivated the then youthful Henry Landseer to learn and understand animal skeletal structure and musculature. He was a son to the engraver, John Landseer. He was a renowned British sculptor and a painter, and particularly he was famous for his animal paintings, especially the dogs, stags as well as the horses. ![]() ![]() Sir Edwin Henry Landseer was born at 71 Queen Anne Street (now 33 Foley Street) in the year 1802 and died in the year 1873 in London. Since then, the painting has been reproduced and is available in many of the museums and galleries in the world. His painting, Shoeing, was particularly successful and made me famous. He was initially appointed to paint different royal pets before moving on to paint pictures of gamekeepers and ghillies. Queen Victoria herself commissioned several paintings from Landseer. Sir Edwin Landseer (1802-1873), Painter Sir Edwin Henry Landseer Early Victorian Portraits Catalogue Entry Sitter in 22 portraits Artist associated with 56 portraits Landseer was one of the nineteenth century's most renowned painters and was reputed to have been Queen Victoria 's favourite. Sir Edwin Henry Landseer's popularity during the Victorian era was substantial, and his skills as an animal sculptor and painter were incomparable. However, the picture was never completed. In 1850, Landseer was among a group of artists that were commissioned to create a portrait painting for the royal family. During the 1830s, Sir Edwin Henry Landseer's paintings started gaining popularity. The artist as well visited Sir Walter Scott, who loved his works and selected him as one of the illustrators in his literary works. In the year 1824, he travelled for the first time to Scotland where he loved the highlands that later were the inspiration for most of his later paintings. By him introducing a donkey into the scene composition, he was utilizing a technique or style commonly used by most of the animal painters, in which the donkey's rough skin is compared to the horse's sleek skin. At the time Landseer was ready to start painting the "Old Betty" her foal had grown and become bigger than the mother.
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