Equestrian Portraits Throughout History

Equestrian portraits have been an important part of many styles of art throughout time and culture.  Artists have continually depicted powerful and influential men sitting atop their steeds for hundreds of years, often leading heroic charges in battles, relaxing during recreation or even just posing on their horse to display their wealth and influence.  This exhibit will seek to show the way equestrian portraits have been interpreted as a sign of power from the 13^th century on through the 20^th century and in different cultures such as Germen, American, Indian and Spanish.  The center piece of this collection is Diego Rodriguez Velazquez’ Count-Duke of Olivares.  It is a classic Baroque equestrian painting of a powerful leader.  The other pieces are different styles of equestrian portraits done by a variety of artist such as Rubens, Peale, Monet and Clouet that all have one point in common and that is to elevate the one on the horse.

Count-Duke of Olivares

Artist: Diego Rodríguez de Silva y Velázquez

Date: ca. 1635

Medium: Oil on canvas

Accession Number: 52.125

Diego Velázquez shows the Count-Duke of Olivares as a noble leader in battle which most scholars agree is the battle of Fuenterrabia in 1638 where the Spanish defeated the French.  The Duke is credited as being the mastermind behind the successful attack.  However, he was not even at the battle when it took place.  He was actually still in Madrid. Velázquez depicts him as the commander overseeing his victory sitting atop his stunningly white horse.  

Washington before Yorktown

Artist: Rembrandt Peale

Dates: 1824

Medium: Oil on canvas

Location: Corcoran Gallery of Art

 The trend traveled from Europe to the United States and on into the 19^th century.  Rembrandt Peale has General George Washington dramatically leading his troops into the battle of Yorktown which was the key battle for the Americans winning the Revolutionary War.  Though in action, Washington’s horse is still in a dramatic pose and Washington is looking back at his forces ready to lead them on to victory.  Peale uses hieratic scale when depicting the general.  He is notably larger then he would be if he was indeed sitting upon a real horse.  This emphasizes Washington’s greatness.

Henry II (1519–1559), King of France

Workshop of François Clouet (French, Tours

Medium: Oil on canvas, transferred from wood

Accession Number: 45.128.12

Being a king, Henry II is portrayed as a leader in more ways than just one.  His clothes and his horse’s elaborate attire show wealth and royalty, giving evidence that he is the rightful king.  His sword at his side shows military power and experience.  Being elevated on the horse, the king appears to be looking down at the viewer.  Done by the Workshop of Francois Clouet, they display Henry II on a 61 1/2 x 53 in piece of canvas.  If there was any doubt to the importance of the king, this would have eliminated it.

Equestrian Portrait of Aurangezb

Artist: Unknown

Date: ca. 1720–30

Medium: Gouache on paper

Accession Number: 25.138.1

Equestrian portraits were a way of showing power in non-western countries as well, such as India.  The artist is unknown but it shows signs of Islamic culture.  It depicts a nobleman whose identity is not identified.  It would be evident to those who saw this painting at that time that the man had much wealth and influence.  He is decked out in riches and is shown with two swords, one strapped to the side of his horse. 

Wolf and Fox Hunt

Artist: Peter Paul Rubens

Date: ca. 1616

Medium: Oil on canvas

Accession Number: 10.73

 In Germany, Peter Paul Rubens used the equestrian style as a means of recreation.  The Wolf and Fox Hunt was the first hunting painting of its time.  The dogs and the assistants on foot are meant to help corral the animals, while the upper class on the horses are there to go in for the kill.  Even the lady has joined the hunt on horseback so as to watch the show.  Rubens uses a Baroque style which is very common to 17^th and 18^th century equestrian portraits.

Jean Monet (1867–1913) on His Hobby Horse

Claude Monet

Date    1872

Medium: Oil on canvas

Accession Number      2000.195

Even this child on a toy horse displays importance.  For this is Monet’s own son, Jean.  Monet has several more paintings featuring his son since he wanted to paint something important and meaningful to him.  Monet actually rented the toy horse and positioned his son atop it, wanting to demonstrate wealth, as not many children had such expensive toys.  Equestrian painting in impressionism has not been a common combination. However, Monet paved the way for impressionism and experimented as the founding father of the movement.