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Conversation in a Park sd
GAINSBOROUGH, Thomas1.jpg
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Conversation_in_a_Park_sd
c. 1740
Oil on canvas, 73 x 68 cm
Mus??e du Louvre, Paris
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Mr and Mrs Andrews dg
GAINSBOROUGH, Thomas2.jpg
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Mr_and_Mrs_Andrews_dg
1748-49
Oil on canvas, 70 x 119 cm
National Gallery, London
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Landscape in Suffolk sdg
GAINSBOROUGH, Thomas3.jpg
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Landscape_in_Suffolk_sdg
c. 1750
Oil on canvas, 65 x 95 cm
Kunsthistorisches Museum, Vienna
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The Artist s Daughters with a Cat
GAINSBOROUGH, Thomas4.jpg
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The_Artist_s_Daughters_with_a_Cat
1759-61
Oil on canvas, 75,6 x 62,9 cm
National Gallery, London
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Mary, Countess of Howe sd
GAINSBOROUGH, Thomas5.jpg
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Mary,_Countess_of_Howe_sd
1764
Oil on canvas, 244 x 152,4 cm
Iveagh Bequest, Kenwood House, London
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GAINSBOROUGH,_Thomas
English Rococo Era/Romantic Painter, 1727-1788
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's 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.
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