A Life in Oil and Line London, 1809. The world of Lambert Marshall begins. He moves through the nineteenth century, a painter navigating the specific demands of British portraiture and equine studies. By the time he reaches his final years in Leeds, 1873, his brush has captured the likenesses of individuals and the powerful anatomy of horses. His work exists in the tension between the formal portrait and the kinetic energy of the stable. The canvas becomes a site for documenting status and movement. In 1826, he captures Mary Marshall (née Saunders), a portrait that fixes a moment of feminine…