Brushstrokes of genius

The best equestrian artists strike a rich chord, touching us on a deeper level than mere aesthetic appeal. Catherine Austen finds out which paintings speak to art-loving riders

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"I DON’T know much about art, but I know what I like,” goes the cliché, rather defensively, acknowledging ignorance but stoutly defending the right to have an opinion. It is a phrase that hits on a truth, however; much of the time, we like what we know and what we understand. A chord is struck because we have seen what the artist has seen, and it means to us what it meant to them.

Of course horsey people, hunting people and racing people are drawn to art that depicts, with knowledge, experience and passion, the animals and sporting pastimes that they love. It speaks to them on a deeper level than simply arousing admiration for technical skill and composition. Every time they look at it, it evokes traces of memories of personal experiences.

One imagines that cavemen felt the same fondness as they paused in front of a painting of a favourite short-necked, stubby-maned equine as we do when we look at one of our best hunter.

The most famous painting of a horse is probably Stubbs’ Whistlejacket, breathtaking in its size and stark drama, and it is no surprise that a lot of people mention this rearing portrait of a racehorse when asked for a favourite.

For Laura de Wesselow, organiser of Belsay Horse Trials and joint-master of the Tynedale, Whistlejacket has a special tug on her emotions - the horse was foaled at Belsay, as was Gamester, a painting of whom adorns her dining room.

“Gamester won the St Leger for my family, the Middletons, who at that point bred and trained racehorses here at Belsay, in 1859. So, historically he holds an important place in our hearts,” says Laura.

“That sense of place and passion for horses is something that we have built on in this generation. The painting of