All Thomas Gainsborough Oil Paintings
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Thomas Gainsborough Details of The mall in St.James's Park oil painting


Details of The mall in St.James's Park
Painting ID::  31819 		Artist: Thomas Gainsborough
Painting: Details of The mall in St.James's Park
Introduction: mk76 Painted probably in 1783 Oil on canvas 47 1/2x57 7/8in
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Gainsborough's Forest oil painting


Gainsborough's Forest
Painting ID::  32837 		Artist: Thomas Gainsborough
Painting: Gainsborough's Forest
Introduction: mk81 c.1748
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Miss Anne Ford oil painting


Miss Anne Ford
Painting ID::  33753 		Artist: Thomas Gainsborough
Painting: Miss Anne Ford
Introduction: mk86 1760 Oil on canvas 197.1x134.9cm Cincinnati,Cincinnati Musuem of Art
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Robert Andrews and his Wife Frances oil painting


Robert Andrews and his Wife Frances
Painting ID::  33814 		Artist: Thomas Gainsborough
Painting: Robert Andrews and his Wife Frances
Introduction: mk86 c.1750 Oil on canvas 69.8x119.5cm London,National Gallery
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough The Watering Place oil painting


The Watering Place
Painting ID::  33815 		Artist: Thomas Gainsborough
Painting: The Watering Place
Introduction: mk86 1777 Oil on canvas 147.3x180.3cm London,National Gallery
   
   
     

 

 

 
 

 

 

 
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     Check All Thomas Gainsborough's Paintings Here!
     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. . Related Artists to Thomas Gainsborough : | stefan Dimitrescu | Samuel Palmer,OWS | david farquharson,r.a.,a.r.s.a.,r.s.w | Leutze, Emmanuel Gottlieb | GRAMATICA, Antiveduto |

 

 

 
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