Study of a Pony

Huggins’ equine painting depicts a pony with its head turned towards the viewer, regarding us cautiously. The painting is strikingly naturalistic, particularly in regard to the pony’s coat - the swirling brushstrokes realistically suggest the wiry feel of horse hair and connote a shaggy coat. The physiology of the pony’s shoulder is also incredibly accurate, demonstrating the slight muscular protrusion of the shoulder over the rest of the front leg. The pony’s eye is outstanding, and gazing into it truly makes the viewer feel as if they are making eye contact with a living, breathing creature. The vivid colours only heighten this sense of realism, and pay homage to Pre-Raphaelite techniques that Huggins was strongly influenced by.

William Huggins
William Huggins was born in Liverpool in 1820 and studied drawing at the Liverpool Mechanics’ Institution. He exhibited at the Liverpool Academy of Arts when he was only fifteen years old, and attended their life drawing classes. He also sketched the animals at Liverpool Zoo, and would travel to see exotic animals at Wombwell’s Travelling Menagerie. As a result, Huggins’ animal paintings never have corresponding backgrounds, as he was never able to see the animals in their natural habitats.

As well as animals, Huggins painted scenes from literature and scripture, which were seen as more prestigious subjects for an artist to paint - despite this, Huggins’ literary and Biblical works do often still contain animals. His first exhibition at the Royal Academy was a painting of the folk tale Androcles and The Lion, combining both mythological and animal painting. He continued to exhibit at the Royal Academy throughout the 1840s and into his later life. He became a full member of the Liverpool Academy in 1850, but resigned six years later over the discourse with the Pre-Raphaelite Brotherhood - he never became a Royal Academician. The influence of the Pre-Raphaelites is noticeable in Huggins’ work. He was inspired by their use of glazes, and would also paint his works on a white background, resulting in brilliant and vibrant colour.

As well as the Royal Academy, Huggins exhibited at the British institution and the Royal Society of British Artists. He also displayed works in many major British cities, including Manchester, Dublin, Edinburgh, Glasgow, and - of course - Liverpool.

In 1861, Huggins moved to live with his brother in Chester. He painted many buildings in Chester, as well as the local scenery. Huggins relocated to Betwys-y-Coed in 1865 and painted the landscapes there, exhibiting them in Liverpool. Evidently restless, Huggins moved to a village in Cheshire in his later years. He died in February of 1884 and was buried with his brother. His works can be found in collections such as the Tate Britain, Liverpool’s Victoria Gallery and Museum, the Walker Art Gallery, Wolverhampton Art Gallery, and at Worcester College in the University of Oxford.