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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 Portrait of Johann Christian Fischer oil painting

Painting ID::  80313

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Thomas Gainsborough
Portrait of Johann Christian Fischer
ca. 1780(1780) Medium Oil on canvas cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Sarah Kirby oil painting

Painting ID::  80426

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Thomas Gainsborough
Portrait of Sarah Kirby
ca. 1751-1752 Medium Oil on canvas Dimensions 768 x 637 mm (30.24 x 25.08 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of James Christie oil painting

Painting ID::  81252

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Thomas Gainsborough
Portrait of James Christie
1778(1778) Medium Oil on canvas Dimensions 49.625 x 40.125 in (126 x 101.9 cm) cyf
   
   
     

 

 

Thomas Gainsborough Self portrait oil painting

Painting ID::  81390

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Thomas Gainsborough
Self portrait
1758-1759 Medium Oil on canvas Dimensions 76.2 x 63.5 cm (30 x 25 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Johann Christian Fischer oil painting

Painting ID::  81779

X 
 

Thomas Gainsborough
Portrait of Johann Christian Fischer
1780(1780) Medium Oil on canvas Dimensions 228.6 x 150.5 cm (90 x 59.3 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Carl Friedrich Abel oil painting

Painting ID::  81811

X 
 

Thomas Gainsborough
Portrait of Carl Friedrich Abel
1765(1765) Medium Oil on canvas Dimensions 126.7 x 101.3 cm (49.9 x 39.9 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of Sarah Kirby oil painting

Painting ID::  81933

X 
 

Thomas Gainsborough
Portrait of Sarah Kirby
. 1751-1752 Medium Oil on canvas Dimensions 768 x 637 mm (30.24 x 25.08 in) cyf
   
   
     

 

 

Thomas Gainsborough A Coastal Landscape oil painting

Painting ID::  82440

X 
 

Thomas Gainsborough
A Coastal Landscape
A Coastal Landscape-1784). Oil on Canvas. 25 x 30 in. (63.5 x 76.2 cm). Date 1782(1782) cjr
   
   
     

 

 

Thomas Gainsborough Portrait of Johann Christian Bach oil painting

Painting ID::  82759

X 
 

Thomas Gainsborough
Portrait of Johann Christian Bach
1776(1776) Medium Oil on canvas Dimensions 75.5 x 62 cm (29.7 x 24.4 in) cyf
   
   
     

 

 

Thomas Gainsborough Princess Augusta aged oil painting

Painting ID::  82767

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Thomas Gainsborough
Princess Augusta aged
1782(1782) Medium Oil on canvas Dimensions 59.4 x 44.1 cm (23.4 x 17.4 in) cyf
   
   
     

 

 

Thomas Gainsborough Princess Elizabeth of the United Kingdom oil painting

Painting ID::  82912

X 
 

Thomas Gainsborough
Princess Elizabeth of the United Kingdom
1782(1782) Medium Oil on canvas Dimensions 59.4 x 44.1 cm (23.4 x 17.4 in) cyf
   
   
     

 

 

Thomas Gainsborough Portrait of John Campbell oil painting

Painting ID::  83129

X 
 

Thomas Gainsborough
Portrait of John Campbell
1767(1767) Medium Oil cyf
   
   
     

 

 

Thomas Gainsborough John Campbell oil painting

Painting ID::  83366

X 
 

Thomas Gainsborough
John Campbell
oil on canvas partial view of painting 18th century Date 18th century cyf
   
   
     

 

 

Thomas Gainsborough Saintes oil painting

Painting ID::  84411

X 
 

Thomas Gainsborough
Saintes
1783(1783) Medium Oil on canvas Dimensions 71 x 40 cm (28 x 15.7 in) cyf
   
   
     

 

 

Thomas Gainsborough A Coastal Landscape oil painting

Painting ID::  85794

X 
 

Thomas Gainsborough
A Coastal Landscape
1784 1782 (x) Medium Oil on canvas Dimensions 25 x 30 in (63.5 x 76.2 cm) cyf
   
   
     

 

 

Thomas Gainsborough Der Morgenspaziergang oil painting

Painting ID::  87927

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Thomas Gainsborough
Der Morgenspaziergang
Date 1785(1785) Medium Oil on canvas Dimensions Deutsch: 236 x 179 cm cjr
   
   
     

 

 

Thomas Gainsborough Landschaft mit dem Dorfe Cornard oil painting

Painting ID::  88485

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Thomas Gainsborough
Landschaft mit dem Dorfe Cornard
3rd quarter of 18th century Medium Oil on canvas Dimensions 76 x 151 cm cjr
   
   
     

 

 

Thomas Gainsborough Dorfmadchen mit Hund und Henkelkrug oil painting

Painting ID::  88702

X 
 

Thomas Gainsborough
Dorfmadchen mit Hund und Henkelkrug
1785(1785) Medium Oil on canvas Dimensions 174 x 125 cm cjr
   
   
     

 

 

Thomas Gainsborough Seashore with Fishermen oil painting

Painting ID::  89199

X 
 

Thomas Gainsborough
Seashore with Fishermen
1781-1782 Medium oil on canvas cjr
   
   
     

 

 

Thomas Gainsborough Portrait of the painter Gainsborough Dupont oil painting

Painting ID::  89419

X 
 

Thomas Gainsborough
Portrait of the painter Gainsborough Dupont
1770s Medium Oil on canvas cyf
   
   
     

 

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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.