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Thomas Gainsborough Portrait of Johann Christian Fischer ca. 1780(1780)
Medium Oil on canvas
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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)
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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)
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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)
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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)
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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)
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Thomas Gainsborough Portrait of Sarah Kirby . 1751-1752
Medium Oil on canvas
Dimensions 768 x 637 mm (30.24 x 25.08 in)
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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)
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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)
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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)
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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)
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Thomas Gainsborough Portrait of John Campbell 1767(1767)
Medium Oil
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Thomas Gainsborough John Campbell oil on canvas
partial view of painting
18th century
Date 18th century
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Thomas Gainsborough Saintes 1783(1783)
Medium Oil on canvas
Dimensions 71 x 40 cm (28 x 15.7 in)
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Thomas Gainsborough A Coastal Landscape 1784 1782 (x)
Medium Oil on canvas
Dimensions 25 x 30 in (63.5 x 76.2 cm)
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Thomas Gainsborough Der Morgenspaziergang Date 1785(1785)
Medium Oil on canvas
Dimensions Deutsch: 236 x 179 cm
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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
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Thomas Gainsborough Dorfmadchen mit Hund und Henkelkrug 1785(1785)
Medium Oil on canvas
Dimensions 174 x 125 cm
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Thomas Gainsborough Seashore with Fishermen 1781-1782
Medium oil on canvas
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Thomas Gainsborough Portrait of the painter Gainsborough Dupont 1770s
Medium Oil on canvas
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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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