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Details of The mall in St.James's Park
new4/Thomas Gainsborough-572773.jpg
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Details_of_The_mall_in_St.James's_Park
mk76
Painted probably in 1783
Oil on canvas
47 1/2x57 7/8in
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Gainsborough's Forest
new9/Thomas Gainsborough-959832.jpg
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Gainsborough's_Forest
mk81
c.1748
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Miss Anne Ford
new9/Thomas Gainsborough-758449.jpg
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Miss_Anne_Ford
mk86
1760
Oil on canvas
197.1x134.9cm
Cincinnati,Cincinnati Musuem of Art
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Robert Andrews and his Wife Frances
new9/Thomas Gainsborough-458882.jpg
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Robert_Andrews_and_his_Wife_Frances
mk86
c.1750
Oil on canvas
69.8x119.5cm
London,National Gallery
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The Watering Place
new9/Thomas Gainsborough-445692.jpg
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The_Watering_Place
mk86
1777
Oil on canvas
147.3x180.3cm
London,National Gallery
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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.
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