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Oil Paintings
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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 Gainsborough Mr and Mrs Andrews Gainsborough's Mr and Mrs Andrews (1748-49). National Gallery, London.
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Thomas Gainsborough The Blue Boy The Blue Boy (1770). The Huntington, California.
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Thomas Gainsborough Mr and Mrs William Hallett Mr and Mrs William Hallett (1785).
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Thomas Gainsborough Mrs Thomas Hibbert. Neue Pinakothek. Mrs Thomas Hibbert. Neue Pinakothek.
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Thomas Gainsborough The Painter Daughters Chasing a Butterfly The Painter`s Daughters Chasing a Butterfly
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Thomas Gainsborough Landscape in Suffolk Landscape in Suffolk (1748)
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Thomas Gainsborough Sunset Sunset (1760)
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Thomas Gainsborough Two Daughters with a Cat Two Daughters with a Cat (c. 1759)
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Thomas Gainsborough The Artist Daughters, Molly and Peggy The Artist`s Daughters, Molly and Peggy (1760)
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Thomas Gainsborough Gainsborough Daughter Mary Gainsborough`s Daughter Mary (1777)
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Thomas Gainsborough River Landscape River Landscape
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Thomas Gainsborough Self-Portrait Self-Portrait (1754)
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Thomas Gainsborough Lady in Blue Lady in Blue (c. 1770)
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Thomas Gainsborough Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba (c. 1765)
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Thomas Gainsborough Georgiana, Duchess of Devonshire Georgiana, Duchess of Devonshire (1783)
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Thomas Gainsborough John Campbell, 4th Duke of Argyll John Campbell, 4th Duke of Argyll (1767)
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Thomas Gainsborough Lady Georgiana Cavendish, Duchess of Devonshire Unknown woman, formerly called: Lady Georgiana Cavendish, Duchess of Devonshire
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Thomas Gainsborough Mrs. Richard B. Sheridan Mrs. Richard B. Sheridan (1785-86)
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Thomas Gainsborough Cottage Girl with Dog and pitcher Cottage Girl with Dog and pitcher (1785)
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Thomas Gainsborough lady getrude alston 1750
paris, louvre
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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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