All Thomas Gainsborough Oil Paintings
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Thomas Gainsborough mr.and mrs.andrews oil painting


mr.and mrs.andrews
Painting ID::  56118 		Artist: Thomas Gainsborough
Painting: mr.and mrs.andrews
Introduction: mk247 c.1750,oil on canvas,27x47 in,70x119.5 cm,national gallery,london,uk
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough john campbell ,4th duke of argyll oil painting


john campbell ,4th duke of argyll
Painting ID::  56134 		Artist: Thomas Gainsborough
Painting: john campbell ,4th duke of argyll
Introduction: mk247 1767,oil on canvas,92x60.75 in,235x154.3 cm,scottish national portrait gallery,edinburgh,uk
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough the blue boy oil painting


the blue boy
Painting ID::  56138 		Artist: Thomas Gainsborough
Painting: the blue boy
Introduction: mk247 1770,oil on canvas,70x48 in,178x122 cm,huntington art collections,san marino,ca,usa
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough mrs.richard brinsley sheridan oil painting


mrs.richard brinsley sheridan
Painting ID::  56152 		Artist: Thomas Gainsborough
Painting: mrs.richard brinsley sheridan
Introduction: mk247 1785 to 87,oil on canvas,86.625x60.625 in,220x154 cm,national gallery of art,washington ,dc,usa
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough the harvest wagon oil painting


the harvest wagon
Painting ID::  56578 		Artist: Thomas Gainsborough
Painting: the harvest wagon
Introduction: mk248 gainsborougb, som enbart verkade i sin atelje, ardetade ofta mot en malad landskapspsfond, upplyst av levande ljud.han kom att upppskarra rubens ocb den nederlandske madtarens influenser marks bar i de flytande liytande linjerna ocb korsnedtagningen.
   
   
     

 

 

 
 

 

 

 
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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 : | Mauve, Anton | JORDAENS, Jacob | Erik Eriksson Grijs | Jan Brueghel The Elder | CAMPEN, Jacob van |

 

 

 
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