Stubbs's

It might be true that "the social and literary contexts to which other Donne texts were attached are crucial to their style" and that "the settings of the poems ... are vitally important to their register," and if Stubbs's book were to show me that this is the case -- specifically that it can be seen in the poems themselves -- I would be grateful for it.

The Biographical Fallacy 2009

But Stubbs's claims for the necessity of biographical/historical analysis of Donne's poetry do otherwise seem relatively unexceptional -- mostly because they don't really get us that far.

The Biographical Fallacy 2009

Stubbs's chosen field is narrow, but the art historian Kenneth Clark rated him one of Britain's greatest artists.

Browser's Delight Henrik Bering 2011

I felt like we could have made a play on Stubbs's ball, and I thought we had Rolen struck out.

Matt Capps's struggles originate with his slider 2010

Stubbs's horses belong to the former grouping and, unfortunately for me, his paintings are far too good.

The Little Professor: 2005

Stubbs's horses belong to the former grouping and, unfortunately for me, his paintings are far too good.

Heresy! 2005

And yet the structure of the Pocklington community is established in the human figures 'attention to this most valued of Britain's animals, without whose presence and differential tension, it seems, given Stubbs's arrangement, there could be no proper marriage, or minimal community, at all.

'Sweet Influences': Human/Animal Difference and Social Cohesion in Wordsworth and Coleridge, 1794-1806 2001

One thus finds in Stubbs's portrait of the Pocklington family that the foundational relationship of husband and wife is triangulated and emblematized by the horse, to whom Mrs. Pocklington gives her hand and affections, and beside which the captain stands, legs mimetically poised like the animal's own.

'Sweet Influences': Human/Animal Difference and Social Cohesion in Wordsworth and Coleridge, 1794-1806 2001

In George Stubbs's portrait of Captain Pocklington and family, the foundational relationship of husband and wife is symbolically triangulated by an animal (their horse), to whom Mrs. Pocklington gives her hand and beside which the captain stands, legs poised like and yet unlike the animal's own.

Abstracts 2001

Consider, for example, Stubbs's portrait of "Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances" (1769).

'Sweet Influences': Human/Animal Difference and Social Cohesion in Wordsworth and Coleridge, 1794-1806 2001