Student Artwork Guide
Copyright This work is in the public domain. Richard Ansdell died in 1885; copyright lasts 70 years after the artist’s death, so it ended in 1955.
In context
Rover and Ruby — Richard Ansdell
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 70 at death.
Painted when the artist was 67. The artist lived to 70. 41 of the 43 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Richard Ansdell (1815–1885) ▲ this work, 1882 every dated painting, decade by decade
First works: up to 1845 Main working years: 1845–1867 Late works: from 1867
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: artsdot.com/en/art/similar/richard-ansdell-rover-and-ruby-8YDSCW-en/
Measured from the image
Main colour
Driftwood #a27e46
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 70 works by this artist, of which 16 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 Liverpool, United Kingdom
Richard Ansdell, a name synonymous with Victorian depictions of animal life and sporting scenes, emerged from humble beginnings to become one of Britain’s most popular artists. Born in Liverpool in 1815, his early life was marked by hardship; the death of his father led him to the care of the Liverpool Blue Coat School for orphans. Yet, even amidst these challenges, a talent for art blossomed, nurtured first through studies with W.C. Smith, a local portrait painter, and later honed during a period as a sign painter in the Netherlands – an experience that broadened his artistic horizons and exposed him to diverse subject matter. This formative period instilled in Ansdell not only technical skill but also a keen observational eye, qualities that would define his future work. He quickly established himself within the Liverpool art scene, exhibiting at the Liverpool Academy from 1835 and becoming a student there the following year, laying the foundation for a prolific career.
Ansdell’s rise to prominence was swift. His ability to capture the essence of rural life – the energy of a hunt, the quiet dignity of livestock, the dramatic tension of a wild animal encounter – resonated deeply with Victorian audiences. He first exhibited at the Royal Academy in London in 1840 with “Grouse Shooting” and “A Galloway Farm,” marking the beginning of an annual presence that would continue until his death in 1885, totaling an impressive 149 canvases. This consistent output speaks to both his dedication and the sustained demand for his work. However, Ansdell was not one to work in isolation. He frequently sought collaboration with other artists, recognizing the strengths each could bring to a composition. His partnership with Thomas Creswick, a master of landscape painting, proved particularly fruitful, allowing Ansdell to seamlessly integrate meticulously rendered animals into evocative natural settings. Collaborations with William Powell Frith and John Phillip further enriched his artistic repertoire; notably, his travels in Spain with Phillip in 1856 and 1857 resulted in a series of captivating Spanish subjects that showcased a different facet of his talent. These collaborations weren’t merely practical arrangements but opportunities for cross-pollination of ideas and techniques, elevating the quality of work produced by all involved.
Throughout his career, Ansdell garnered significant recognition for his artistic achievements. He received a gold medal at the Paris Exhibition in 1855 for “The Wolf Slayer” and “Taming the Drove,” solidifying his international reputation. Further accolades included three prestigious Heywood medals from the Manchester Royal Institution. This acclaim culminated in his election as an Associate of the Royal Academy (ARA) in 1861, followed by full membership as a Royal Academician (RA) in 1870 – milestones that affirmed his standing within the British art establishment. While immensely popular with the public, Ansdell’s work occasionally drew criticism from some quarters. Compared to Edwin Landseer, another prominent animal painter of the era, some critics found Ansdell's paintings lacking a certain emotional depth. Nevertheless, his style was characterized by meticulous detail, realistic representation, and a masterful understanding of anatomy and movement. He possessed an exceptional ability to convey texture – the rough coat of a stag, the sleek hide of a horse, the soft wool of a sheep – bringing his subjects vividly to life on canvas.
Richard Ansdell died in 1885, leaving behind a substantial body of work that continues to captivate audiences today. His paintings offer a fascinating glimpse into Victorian society, reflecting the era’s fascination with rural pursuits, sporting activities, and the natural world. He is remembered not only as a skilled artist but also as a chronicler of his time. Uniquely, Ansdell's legacy extends beyond the art world; he is one of the few artists to have an area named in his honor – Ansdell, in Lytham St Annes – a testament to his local significance and enduring popularity. His works are held in major collections across the UK, including Liverpool’s Walker Art Gallery and the Lytham St Annes Art Collection, ensuring their accessibility for future generations. Recent valuations, such as the £15,000-£20,000 estimate placed on a Friesian cow painting featured on BBC One’s Antiques Roadshow, demonstrate continued interest in his work and its enduring value. The Hunted Slaves, with its powerful anti-slavery message, remains particularly poignant, showcasing Ansdell's ability to engage with important social issues through his art. Ultimately, Richard Ansdell’s legacy lies in his detailed and engaging depictions of Victorian life, a world brought vividly to life through his masterful brushstrokes and unwavering dedication to capturing the beauty and drama of the natural world.
artsdot.com/en/art/download/richard-ansdell-rover-and-ruby-8YDSCW-en/
Look closely
Rover and Ruby — Richard Ansdell
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.
A Stats page exists for "Rover and Ruby". It charts the monthly visits of the artwork and of the artist's other works, with country and language breakdowns.
Within Richard Ansdell's output, "Rover and Ruby" sits in the Victorianism style, alongside the themes of british sporting art tradition, victorian naturalism & realism, celebration of rural life.
driftwood (#a27e46) is the leading color of "Rover and Ruby" by Richard Ansdell.