Purchase a hand made painting of Isabella Salstonstall as Una in Spenser's 'Faerie Queene' - romantic allegory

Q: What topics does Isabella Salstonstall as Una in Spenser's 'Faerie Queene' explore?

lion, una, faerie queene, allegory, woman, horse, myth, portrait

Quick Facts

Notable elements: Lion and woman
Influences: Spenser's poem
Subject or theme: Faerie Queene
Dimensions: 47.9 x 63.8 cm
Medium: Enamel on ceramic
Title: Isabella Salstonstall as Una
Artist: George Stubbs

Artwork Description

A Vision of Chivalry: George Stubbs’s Isabella Salstonstall as Una

George Stubbs's "Isabella Saltonstall as Una in Spenser’s ‘Faerie Queene’," painted in 1782, is more than a portrait; it’s a meticulously crafted tableau vivant, a shimmering distillation of chivalric romance and allegorical symbolism. The painting depicts Isabella Saltonstall, a young woman embodying the character of Una – a virtuous maiden tasked with rescuing the wounded Prince Florian from the clutches of the monstrous Sir Gula in Edmund Spenser's epic poem. Stubbs’s masterful handling of light, texture, and composition elevates this scene beyond mere representation, transforming it into a powerful meditation on virtue, courage, and the enduring allure of Arthurian legend.

The Enamel Surface: A Delicate Dance of Technique

Executed in enamel on ceramic, a technique rarely employed by Stubbs, this work reveals an extraordinary level of detail and luminosity. The smooth, almost porcelain-like surface captures the subtle nuances of Saltonstall’s expression – a blend of serene dignity and quiet determination. Stubbs's meticulous attention to texture is particularly evident in the rendering of Una’s flowing white dress, which seems to shimmer with an inner light, contrasting sharply with the rougher, more earthy tones of the lion beneath her hand. The use of enamel, typically associated with decorative arts rather than grand portraiture, adds a unique tactile quality and a sense of timelessness to the piece. The choice itself speaks volumes about Stubbs’s ambition – he sought not merely to depict a subject but to create an immersive experience for the viewer.

Symbolism Woven into the Landscape

Beyond the central figures, the painting is rich in symbolic detail. The lion, positioned directly beneath Una's hand, represents strength, loyalty, and protection – qualities essential to her quest. The background landscape, a carefully constructed vista of rolling hills and distant trees, evokes the wildness and danger of the Faerie realm while simultaneously suggesting a sense of pastoral tranquility. Notably, two horses are subtly integrated into the scene, one behind Una and another further back, hinting at the journey ahead and the potential for both triumph and peril. The very composition—a carefully balanced arrangement of figures and elements—mirrors Spenser’s poem, reinforcing the painting's allegorical purpose.

A Portrait of Virtue: Saltonstall and the Spirit of the Age

Isabella Saltonstall herself was a woman of considerable social standing and intellectual curiosity. Her commission for this portrait reflects the burgeoning interest in classical literature and mythology during the late 18th century, as well as a growing appreciation for female agency and virtue. The image of Una—a figure celebrated for her purity, courage, and unwavering loyalty—resonated deeply with contemporary ideals of womanhood. Stubbs’s portrayal captures not only Saltonstall's physical beauty but also the spirit of a woman embodying these values – a testament to her character and influence within her social circle. The painting serves as a poignant reminder of how art can both reflect and shape cultural attitudes.

Today, reproductions of “Isabella Saltonstall as Una” offer a captivating glimpse into a bygone era, inviting us to contemplate the timeless themes of chivalry, virtue, and the enduring power of storytelling. It’s a work that continues to resonate with viewers, reminding us of the beauty and complexity inherent in both art and human experience.

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Artist Biography

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://ArtsDot.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

George Stubbs

1724 - 1806 , United Kingdom

Quick Facts

Artistic Movement Or Style: Romanticism, Equine Art
Artists Or Movements Influenced By This Artist: ['Joshua Reynolds']
Artists Who Influenced This Artist: ['Hamlet Winstanley']
Date Of Birth: August 25, 1724
Date Of Death: July 10, 1806
Full Name: George Stubbs
Nationality: British
Notable Artworks:
- Whistlejacket
- Lion & Horse
- A Lion and Tiger
Place Of Birth: Liverpool, UK

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