HOME
SEARCH
GALLERY
SVENSKA
ARTIST
FAQ
CONTACT
EMAIL

Oil Paintings Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists.

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.

 

 1 2 3 4 5 6 7 8 9 10    Next
 

 

 

Thomas Gainsborough Portrait of Jonathan Buttall oil painting

Painting ID::  1296

X 
 

Thomas Gainsborough
Portrait of Jonathan Buttall
1770 The Huntington Art Collections, San Marino
   
   
     

 

 

Thomas Gainsborough Mrs Philip Thicknesse oil painting

Painting ID::  1299

X 
 

Thomas Gainsborough
Mrs Philip Thicknesse
1759-60 Cincinnati Art Museum, Ohio
   
   
     

 

 

Thomas Gainsborough Portrait of Henrietta Vernon 10 oil painting

Painting ID::  1300

X 
 

Thomas Gainsborough
Portrait of Henrietta Vernon 10
1766-67 Collection of the Duke of Westminster
   
   
     

 

 

Thomas Gainsborough Mr and Mrs Andrews oil painting

Painting ID::  1302

X 
 

Thomas Gainsborough
Mr and Mrs Andrews
1750 National Gallery, London
   
   
     

 

 

Thomas Gainsborough Mary, Countess Howe oil painting

Painting ID::  1303

X 
 

Thomas Gainsborough
Mary, Countess Howe
1760 Iveagh Bequest Kenwood
   
   
     

 

 

Thomas Gainsborough The Harvest Wagon oil painting

Painting ID::  1304

X 
 

Thomas Gainsborough
The Harvest Wagon
1767 Barber Institute of Fine Arts, Birmingham
   
   
     

 

 

Thomas Gainsborough Portrait of a Lady in Blue 5 oil painting

Painting ID::  1305

X 
 

Thomas Gainsborough
Portrait of a Lady in Blue 5
1770's The Hermitage, StPetersburg
   
   
     

 

 

Thomas Gainsborough The Painter's Daughters Chasing a Butterfly oil painting

Painting ID::  1306

X 
 

Thomas Gainsborough
The Painter's Daughters Chasing a Butterfly
1755-56 National Gallery, London
   
   
     

 

 

Thomas Gainsborough Lady Alston 4 oil painting

Painting ID::  1307

X 
 

Thomas Gainsborough
Lady Alston 4
1760-65 Musee du Louvre, Paris
   
   
     

 

 

Thomas Gainsborough The Honorable Mrs Graham oil painting

Painting ID::  1308

X 
 

Thomas Gainsborough
The Honorable Mrs Graham
1775-77 National Gallery of Scotland, Edinburgh
   
   
     

 

 

Thomas Gainsborough A Cottage Girl with Dog and Pitcher oil painting

Painting ID::  1309

X 
 

Thomas Gainsborough
A Cottage Girl with Dog and Pitcher

   
   
     

 

 

Thomas Gainsborough Mrs Grace Elliot oil painting

Painting ID::  1310

X 
 

Thomas Gainsborough
Mrs Grace Elliot

   
   
     

 

 

Thomas Gainsborough Mrs Lownds Stone oil painting

Painting ID::  1311

X 
 

Thomas Gainsborough
Mrs Lownds Stone

   
   
     

 

 

Thomas Gainsborough Ritratto di Giovane oil painting

Painting ID::  1312

X 
 

Thomas Gainsborough
Ritratto di Giovane

   
   
     

 

 

Thomas Gainsborough Ritratto oil painting

Painting ID::  1313

X 
 

Thomas Gainsborough
Ritratto

   
   
     

 

 

Thomas Gainsborough Count Rumford oil painting

Painting ID::  1314

X 
 

Thomas Gainsborough
Count Rumford

   
   
     

 

 

Thomas Gainsborough Self Portrait ss oil painting

Painting ID::  1316

X 
 

Thomas Gainsborough
Self Portrait ss
1787 Royal Academy of Arts, London
   
   
     

 

 

Thomas Gainsborough Haymaker and Sleeping Girl oil painting

Painting ID::  1317

X 
 

Thomas Gainsborough
Haymaker and Sleeping Girl
1785 Museum of Fine Arts, Boston
   
   
     

 

 

Thomas Gainsborough Girl with Pigs oil painting

Painting ID::  1318

X 
 

Thomas Gainsborough
Girl with Pigs
1782 Castle Howard Collection
   
   
     

 

 

Thomas Gainsborough Wooded Landscape with Mounted Drover oil painting

Painting ID::  1319

X 
 

Thomas Gainsborough
Wooded Landscape with Mounted Drover
1780
   
   
     

 

  1  2  3  4  5  6  7  8  9  10     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.