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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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Thomas Gainsborough 1727-1788
British
Thomas Gainsborough Locations
English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788. |
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Thomas Gainsborough The Marsham Children 1787(1787)
Medium Oil on canvas
Dimensions 243 x 182 cm (95.7 x 71.7 in)
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Thomas Gainsborough Lady Sheffield 1785-1786
Medium Oil on canvas
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Thomas Gainsborough Sarah Siddons 1785(1785)
Medium Oil on canvas
Dimensions 126 x 100 cm (49.6 x 39.4 in)
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Thomas Gainsborough Heneage Lloyd and His Sister ca. 1750(1750)
Medium Oil on canvas
Dimensions 64 x 80 cm (25.2 x 31.5 in)
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Thomas Gainsborough Master John Heathcote 1770(1770)
Oil on canvas
Width: 101 cm (39.8 in). Height: 127 cm (50 in).
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Thomas Gainsborough Self portrait 1754(1754)
Medium Oil on canvas
Dimensions 58 x 49 cm (22.8 x 19.3 in)
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Thomas Gainsborough Thomas Graham 1777(1777)
Medium Oil on canvas
Dimensions 237 x 154 cm (93.3 x 60.6 in)
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Thomas Gainsborough Portrait of Charles Wolfran Cornwall 1785(1785) or 1786(1786)
Medium Oil
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Thomas Gainsborough Mr and Mrs Andrews 1749-1750
Medium Oil on canvas
Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in)
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Thomas Gainsborough Mr and Mrs Andrews 1749-1750
Medium Oil on canvas
Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in)
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Thomas Gainsborough Mr and Mrs Andrews 1750(1750)
Medium Oil on canvas
Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in)
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Thomas Gainsborough Woman in Blue Oil on canvas
76 x 64 cm (29.9 x 25.2 in)
Late 1770s - early 1780s
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Thomas Gainsborough Woman in Blue Oil on canvas
Late 1770s - early 1780s
76 x 64 cm (29.9 x 25.2 in)
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Thomas Gainsborough Portrait of Charles Wolfran Cornwall 1785(1785) or 1786(1786)
Medium Oil
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Thomas Gainsborough Portrait of Lady Georgiana Cavendish, Duchess of Devonshire 1787
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Thomas Gainsborough Portrat von Mr und Mrs Andrews 1749-1750
Medium Oil on canvas
Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in)
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Thomas Gainsborough Mr and Mrs Andrews 1749-1750
Medium Oil on canvas
Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in)
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Thomas Gainsborough Grace Elliott 1778(1778)
Medium Oil on canvas
Dimensions 234.3 x 153.7 cm (92.2 x 60.5 in)
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Thomas Gainsborough Master John Heathcote 1770(1770)
Medium Oil on canvas
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Thomas Gainsborough Suffolk Landscape oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum
Date mid-1750s
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Thomas Gainsborough
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1727-1788
British
Thomas Gainsborough Locations
English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.
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