Student Artwork Guide
Copyright This work is in the public domain. Benjamin Marshall died in 1835; copyright lasts 70 years after the artist’s death, so it ended in 1905.
In context
Hunters At Grass, — Benjamin Marshall
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.
Painted when the artist was 33. The artist lived to 67. 1 of the 10 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Benjamin Marshall (1768–1835) ▲ this work, 1801 every dated painting, decade by decade
First works: up to 1805 Main working years: 1805–1823 Late works: from 1823
Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them
Pick one work above: name two things it shares with this one, and one thing that's different.
More works to set beside this one: wahooart.com/en/art/similar/benjamin-marshall-hunters-at-grass-9DGD5M-en/
Measured from the image
Main colour
Putty #d0d8cc
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
The ten leading countries
Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.
Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 59 works by this artist, of which 12 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month
Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.
Artist and museum
Born in Seagrave, United Kingdom
Benjamin Marshall (1768 – 1835) stands as a significant figure in British art history, particularly renowned for his captivating depictions of horses and sporting pursuits during the Romantic era. Born in Seagrave, Leicestershire, he embarked on an artistic journey shaped by formative influences from George Stubbs and lemuel abbott, establishing himself as a dedicated follower of Stubbs’ anatomical precision and meticulous observation. His early training under Abbott instilled a foundational understanding of drawing and painting techniques that would underpin his prolific output throughout his career.
Early Life & Training: Marshall's upbringing fostered an appreciation for the natural world, which would become central to his artistic vision. Studying under Abbot honed his skills in anatomical rendering—a crucial element evident in his later horse portraits—and instilled a disciplined approach to artistic practice.
Shift Towards Equestrian Artistry: While initially focused on portraiture, Marshall decisively transitioned towards equine subjects around 1800-10, driven by an undeniable fascination with horses and their role within the aristocratic sporting culture of Britain. This pivotal decision cemented his reputation as “Marshall of Newmarket,” where he resided for extended periods and cultivated connections with prominent racing families.
Marshall’s artistic prowess manifested in a remarkable volume of paintings and engravings, showcasing an impressive command of technique and stylistic innovation. He achieved considerable acclaim within the Royal Academy circles, presenting thirteen portraits of racehorses and their owners between 1801-12 and 1818-19—works celebrated for their realism and expressive brushwork. His meticulous attention to detail—particularly in capturing muscle structure and movement—was directly attributable to Stubbs’ influence and Abbot's rigorous instruction. Furthermore, Marshall skillfully employed impasto technique – applying thick layers of paint – to imbue his canvases with textural richness and conveying a palpable sense of dynamism.
Engraving Commissions: Marshall collaborated extensively with engravers like Charles Turner and William Cooke, producing stunning mezzotint prints that amplified the impact of his paintings. These engravings captured the grandeur of racing events and aristocratic patronage, securing his legacy as a visual storyteller.
Romantic Style & Observation: His artistic style embraced Romantic ideals—emphasizing emotion, imagination, and an idealized portrayal of nature—while simultaneously grounding his observations in scientific accuracy. This harmonious blend resulted in artworks that resonate with both aesthetic beauty and intellectual depth.
Marshall’s oeuvre comprises approximately sixty paintings depicting sportsmen, horses, and hounds, many of which were engraved for publications like Wheble's Sporting Magazine and The Sportsman's Repository. Among his most celebrated pieces are “The Duke Of Richmond’s ‘rough Robin’ With The Jockey Frank Buckle,” “Broodmare With Foal, And A Terrier,” and “Three Worthies Of The Turf At Newmarket.” These artworks garnered recognition from discerning collectors like Sir Walter Gilbey and solidified Marshall's position as a leading equestrian artist of his time. His engravings—particularly those featuring horses—became invaluable records of racing traditions and aristocratic social life.
Benjamin Marshall’s contribution to British art transcends mere stylistic innovation; he embodies the spirit of Romanticism's fascination with the natural world and its celebration of noble pursuits. His meticulous anatomical rendering, combined with expressive brushwork and skillful engraving, established a benchmark for equestrian painting—a genre that continues to inspire artists today. Marshall’s enduring legacy resides not only in his individual masterpieces but also in his role as a chronicler of British sporting culture and aristocratic society during a transformative period in artistic history.
wahooart.com/en/art/download/benjamin-marshall-hunters-at-grass-9DGD5M-en/
Look closely
Hunters At Grass, — Benjamin Marshall
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The recorded values for "Hunters At Grass," by Benjamin Marshall are: balanced brightness, gentle luminance luminance.
The color analysis of "Hunters At Grass," by Benjamin Marshall records a statement contrast and a strong color unity harmony.
A print of "Hunters At Grass," by Benjamin Marshall can be ordered directly on its Fine Art Print page: a fine art print on cotton canvas or archival canvas paper.