All Thomas Gainsborough Oil Paintings
       Prev  35  36  37  38  39  40  41  42  43  44   Next
  Prev Artist       Next Artist     


Thomas Gainsborough Portrait of Giovanna Baccelli oil painting


Portrait of Giovanna Baccelli
Painting ID::  76452 		Artist: Thomas Gainsborough
Painting: Portrait of Giovanna Baccelli
Introduction: Date ca. 1782(1782) Medium Oil on canvas Dimensions 2,267 ?? 1,486 mm (89.25 ?? 58.5 in) cyf
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Portrait of Lady Margaret Georgiana Poyntz later Margaret Georgiana Spencer, Countess Spencer oil painting


Portrait of Lady Margaret Georgiana Poyntz later Margaret Georgiana Spencer, Countess Spencer
Painting ID::  76471 		Artist: Thomas Gainsborough
Painting: Portrait of Lady Margaret Georgiana Poyntz later Margaret Georgiana Spencer, Countess Spencer
Introduction: ca. 1775(1775) cjr
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Suffolk Landscape oil painting


Suffolk Landscape
Painting ID::  76733 		Artist: Thomas Gainsborough
Painting: Suffolk Landscape
Introduction: Suffolk Landscape, mid-1750s oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum. cjr
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Portrait of Edward Ligonier, 1st Earl Ligonier oil painting


Portrait of Edward Ligonier, 1st Earl Ligonier
Painting ID::  76881 		Artist: Thomas Gainsborough
Painting: Portrait of Edward Ligonier, 1st Earl Ligonier
Introduction: 1770(1770) Oil on canvas cjr
   
   
     

 

 

 
 

 

 

 
Thomas Gainsborough Portrait of Ann Ford oil painting


Portrait of Ann Ford
Painting ID::  77055 		Artist: Thomas Gainsborough
Painting: Portrait of Ann Ford
Introduction: 1760(1760) Oil on canvas 197 ?? 135 cm (77.6 ?? 53.1 in) cjr
   
   
     

 

 

 
 

 

 

 
       Prev  35  36  37  38  39  40  41  42  43  44   Next
Prev Artist       Next Artist     
     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 : | Jozef Chelmonski | Hieronymus Francken | Pieter Meulener | Artur Timoteo da Costa | Rosso Fiorentino |

 

 

 
CONTACT US
 Contact us!