If you have any interest in English paintings and country houses, you have probably come across those odd-looking paintings of a rectangular cow, a mastodon of a sheep or a pig so large it could probably feed a family of twelve for a year.
While it might be tempting to dismiss them as just another “old days weird trend” like medieval cats painting (more on that note soon!) or perhaps as a precursor to the cubism movement, there is a much more interesting explanation behind those beefed-up cattle. (no pun intended).
Back in the 16th century, England saw a massive agricultural revolution. Thanks to a combination of selective breeding of livestock; the removal of common property rights to land; and new systems of cropping (a rotation of crops involving turnips and clover), the farming industry went from being an at home production to a more organized capitalist system allowing the ever-growing English population to be fed outside of farming centers.
Unlike previous eras where the population growth would stall and even decline due to malnourishment, this revolution allowed England to grow from around 5.7 million in 1750 to 16.6 million by 1850! (Source: BBC)
This new system also became increasingly profitable for country house owners and “Gentleman Farmers” who started competing amongst themselves for the “Best in show”. Soon enough, bragging about your bountiful harvest, massive turnips and your profitable pigs became a lot cooler than building a new wing to your Palladian mansion.
Since posting it on Instagram for the world to see wasn’t an option in 1750, these gentlemen decided to do the next best thing: Having their animals painted with features “slightly” exaggerated (think filter and contouring or a royal princess with access to photoshop).
After all, if you don’t have it on canvas did it really happen?
Source:
Photo: The Champion Shorthorn 1856 W. Smith (active 1856–c.1861)Museum of English Rural Life
Prize Sheep’, 1838, oil on canvas, 54.5 x 67.5 cm. By William Henry Davis (1786–1865) ( museum of Lincolnshire life)
Gloucestershire Old Spot’, oil on panel, 1800-05 by James Ward, 1769–1859, signed. Yale Center for British Art