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Oil Paintings Come From United Kingdom
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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 oil painting

Painting ID::  78936

X 
 

Thomas Gainsborough
The Marsham Children
1787(1787) Medium Oil on canvas Dimensions 243 x 182 cm (95.7 x 71.7 in) cyf
   
   
     

 

 

Thomas Gainsborough Lady Sheffield oil painting

Painting ID::  78955

X 
 

Thomas Gainsborough
Lady Sheffield
1785-1786 Medium Oil on canvas cyf
   
   
     

 

 

Thomas Gainsborough Sarah Siddons oil painting

Painting ID::  78959

X 
 

Thomas Gainsborough
Sarah Siddons
1785(1785) Medium Oil on canvas Dimensions 126 x 100 cm (49.6 x 39.4 in) cyf
   
   
     

 

 

Thomas Gainsborough Heneage Lloyd and His Sister oil painting

Painting ID::  78971

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Master John Heathcote oil painting

Painting ID::  78972

X 
 

Thomas Gainsborough
Master John Heathcote
1770(1770) Oil on canvas Width: 101 cm (39.8 in). Height: 127 cm (50 in). cjr
   
   
     

 

 

Thomas Gainsborough Self portrait oil painting

Painting ID::  79011

X 
 

Thomas Gainsborough
Self portrait
1754(1754) Medium Oil on canvas Dimensions 58 x 49 cm (22.8 x 19.3 in) cyf
   
   
     

 

 

Thomas Gainsborough Thomas Graham oil painting

Painting ID::  79080

X 
 

Thomas Gainsborough
Thomas Graham
1777(1777) Medium Oil on canvas Dimensions 237 x 154 cm (93.3 x 60.6 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Charles Wolfran Cornwall oil painting

Painting ID::  79095

X 
 

Thomas Gainsborough
Portrait of Charles Wolfran Cornwall
1785(1785) or 1786(1786) Medium Oil cyf
   
   
     

 

 

Thomas Gainsborough Mr and Mrs Andrews oil painting

Painting ID::  79198

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Mr and Mrs Andrews oil painting

Painting ID::  79287

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Mr and Mrs Andrews oil painting

Painting ID::  79345

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Woman in Blue oil painting

Painting ID::  79528

X 
 

Thomas Gainsborough
Woman in Blue
Oil on canvas 76 x 64 cm (29.9 x 25.2 in) Late 1770s - early 1780s cjr
   
   
     

 

 

Thomas Gainsborough Woman in Blue oil painting

Painting ID::  79602

X 
 

Thomas Gainsborough
Woman in Blue
Oil on canvas Late 1770s - early 1780s 76 x 64 cm (29.9 x 25.2 in) cjr
   
   
     

 

 

Thomas Gainsborough Portrait of Charles Wolfran Cornwall oil painting

Painting ID::  79772

X 
 

Thomas Gainsborough
Portrait of Charles Wolfran Cornwall
1785(1785) or 1786(1786) Medium Oil cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Lady Georgiana Cavendish, Duchess of Devonshire oil painting

Painting ID::  79854

X 
 

Thomas Gainsborough
Portrait of Lady Georgiana Cavendish, Duchess of Devonshire
1787 cjr
   
   
     

 

 

Thomas Gainsborough Portrat von Mr und Mrs Andrews oil painting

Painting ID::  79952

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Mr and Mrs Andrews oil painting

Painting ID::  80082

X 
 

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) cyf
   
   
     

 

 

Thomas Gainsborough Grace Elliott oil painting

Painting ID::  80126

X 
 

Thomas Gainsborough
Grace Elliott
1778(1778) Medium Oil on canvas Dimensions 234.3 x 153.7 cm (92.2 x 60.5 in) cyf
   
   
     

 

 

Thomas Gainsborough Master John Heathcote oil painting

Painting ID::  80189

X 
 

Thomas Gainsborough
Master John Heathcote
1770(1770) Medium Oil on canvas cyf
   
   
     

 

 

Thomas Gainsborough Suffolk Landscape oil painting

Painting ID::  80228

X 
 

Thomas Gainsborough
Suffolk Landscape
oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum Date mid-1750s cyf
   
   
     

 

       Prev    7  8  9  10  11  12  13  14     Next

 

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.