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James WardMare and Foal in a Stable Interior, James Ward RA (1769 - 1859)
About the Item
James Ward, an 18th-century English artist, captures a serene and intimate scene in his oil painting Mare and Foal in a Stable Interior. This work embodies Ward's expertise in portraying animals with great sensitivity and precision, especially within the context of rural and domestic environments.
In this painting, the focus is on the tender relationship between the mare and her foal. The mare is depicted with a gentle and protective posture, standing in the stable. The foal, still youthful and fragile, is shown beside her nestled close to her, embodying the innocence and vulnerability of young life. The artist’s skillful rendering of their coats, the rich textures of the horses' fur, reveals a deep understanding of anatomy and light, as shadows play across their forms.
The stable interior itself is warm and rustic, with soft light filtering through the stable’s wooden beams, casting a gentle glow on the horses.
Ward’s meticulous technique and understanding of animal anatomy are on full display as he emphasizes the strength and grace of the horses while maintaining a soft, almost sentimental atmosphere. The stable setting conveys a sense of peace and simplicity, focusing on the natural bond between the mare and foal in their shared moment of quiet.
James Ward was born in 1769 in London, the son of a fruit merchant. One of five children - another of whom, William, became an associate of the Royal Academy - Ward did not attend school and instead was apprenticed to an engraver from the age of twelve. This training revealed his natural artistic talents and during his early career he established himself as a successful mezzotinter, reproducing works by other artists.
Ward started painting his own compositions around 1790 and, at first, was greatly influenced stylistically by his brother-in-law, the artist George Morland (1763-1804). After seeing Rubens’ Chateau de Steen in 1803, Ward’s painting style also incorporated Rubensian elements. He was an active observer of the natural world and studied animal and human anatomy. Ward became a respected animal-painter, often depicting animals on a colossal scale. He enjoyed a healthy business painting animals commissioned by members of the merchant classes, gentry and nobility.
Having been elected to the Royal Academy as a full member in 1811, Ward sought to diversify his subjects, and in the decades that followed, he produced renowned landscape, religious and history paintings. Ward also received significant public commissions relating to the Napoleonic Wars, notably producing The Waterloo Allegory (1815-21) to commemorate the victory of Wellington over Napoleon, for the British Institution.
A number of personal tragedies caused Ward to move from London to Hertfordshire in 1830 and, in his later years, he spent most of his time producing religious paintings although he still painted and submitted animal pictures to the RA Annual (now Summer) Exhibition. He continued to paint and exhibit until 1852, but the calibre of his work declined in tandem with his health and finances. Suffering a stroke in the mid 1850s, Ward died in November 1859.
Regarded by many as the quintessential animal painter of his generation, Ward’s paintings often had moralistic undertones that reflected his unusually progressive views. These included his hatred of cruelty to animals and defence of beards (which were extremely unfashionable at the time), and his works were sometime accompanied by lengthy explanations or poems.
- Creator:James Ward (1769 - 1859, English)
- Dimensions:Height: 22.05 in (56 cm)Width: 25.99 in (66 cm)
- More Editions & Sizes:56cm L x 66cm W canvas only without framePrice: $8,238
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:Seller: 581stDibs: LU2841215850402
James Ward
James Ward was influenced by many people, but his career is conventionally divided into two periods: until 1803, his single greatest influence was his brother in law George Morland; from that time, it was Rubens. From 1810 or so, Ward started to paint horses within landscapes; slightly later, he turned to very large-scale landscapes, of which Gordale Scar (Tate, London), completed in 1814 or 1815 and depicting Gordale Scar (Yorkshire) as an example of the sublime, is considered his masterpiece and a masterpiece of English Romantic painting. He was one of the outstanding artists of the day, his singular style and great skill set him above most of his contemporaries, markedly influencing the growth of British art. Regarded as one of the great animal painters of his time, Ward produced history paintings, portraits, landscapes and genre. He started as an engraver, trained by William, who later engraved much of his work. The partnership of William and James Ward produced the best that English art had to offer, their great technical skill and artistry having led to images that reflect the grace and charm of the era. He was admitted for membership into the Royal Academy in 1811. One of Ward's best-known paintings, The deer stealer was commissioned in 1823 for the sum of 500 guineas by Ward's patron Theophilus Levett. When the work was finished, Levett pronounced himself delighted with the results and consequently raised the remuneration to 600 guineas. Subsequently Ward was said to have been offered 1,000 guineas for the painting by 'a nobleman,' which he declined. The painting now hangs at Tate in London.
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