Thomas Gainsborough

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 Thomas Gainsborough Suffolk landscape oil painting artist
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     Suffolk landscape
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  Suffolk_landscape
mk150 c.1750 Canvas 66x95cm

 Thomas Gainsborough Mr and Mrs Andrews oil painting artist
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     Mr and Mrs Andrews
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16x20 40x50   $65   $69
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  Mr_and_Mrs_Andrews
mk156 c.1750 Oil o ncanvas 70x119cm

 Thomas Gainsborough Miss Ann Ford oil painting artist
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     Miss Ann Ford
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48x72 120x180 $389 399

 

  Miss_Ann_Ford
mk156 1760 Oil on canvas 192x135cm

 Thomas Gainsborough Countess Howe oil painting artist
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     Countess Howe
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INCHES CM High Quality Museum Quality
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30x40 75x100   $139 $149
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48x72 120x180 $389 399

 

  Countess_Howe
mk156 1760 jOil on canvas 244x152.4cm

 Thomas Gainsborough Mrs.Richard Brinsley Sheridan oil painting artist
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     Mrs.Richard Brinsley Sheridan
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INCHES CM High Quality Museum Quality
16x20 40x50   $65   $69
20x24 50x60   $85   $89
24x36 60x90   $129   $139
30x40 75x100   $139 $149
36x48 90x120   $209 $209
48x72 120x180 $389 399

 

  Mrs.Richard_Brinsley_Sheridan
mk156 1785 Oil on canvas 220x154cm

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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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