All Thomas Gainsborough Oil Paintings

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.
 

       Prev  47  48  49  50  51  52  53  54   Next
  Prev Artist       Next Artist     

   
    

Thomas Gainsborough Der Morgenspaziergang oil on canvas


Der Morgenspaziergang
Der Morgenspaziergang
Painting ID::  87927
  Date 1785(1785) Medium Oil on canvas Dimensions Deutsch: 236 x 179 cm cjr
  Date 1785(1785) Medium Oil on canvas Dimensions Deutsch: 236 x 179 cm cjr

Height    Width


  INS/CM       Quality

X

  

Thomas Gainsborough Landschaft mit dem Dorfe Cornard oil on canvas


Landschaft mit dem Dorfe Cornard
Landschaft mit dem Dorfe Cornard
Painting ID::  88485
  3rd quarter of 18th century Medium Oil on canvas Dimensions 76 x 151 cm cjr
  3rd quarter of 18th century Medium Oil on canvas Dimensions 76 x 151 cm cjr

Height    Width


  INS/CM       Quality

X

  

Thomas Gainsborough Dorfmadchen mit Hund und Henkelkrug oil on canvas


Dorfmadchen mit Hund und Henkelkrug
Dorfmadchen mit Hund und Henkelkrug
Painting ID::  88702
  1785(1785) Medium Oil on canvas Dimensions 174 x 125 cm cjr
  1785(1785) Medium Oil on canvas Dimensions 174 x 125 cm cjr

Height    Width


  INS/CM       Quality

X

  

Thomas Gainsborough Seashore with Fishermen oil on canvas


Seashore with Fishermen
Seashore with Fishermen
Painting ID::  89199
  1781-1782 Medium oil on canvas cjr
  1781-1782 Medium oil on canvas cjr

Height    Width


  INS/CM       Quality

X

  

Thomas Gainsborough Portrait of the painter Gainsborough Dupont oil on canvas


Portrait of the painter Gainsborough Dupont
Portrait of the painter Gainsborough Dupont
Painting ID::  89419
  1770s Medium Oil on canvas cyf
  1770s Medium Oil on canvas cyf

Height    Width


  INS/CM       Quality

X

  

       Prev  47  48  49  50  51  52  53  54   Next
Prev Artist       Next Artist     

     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.

ARTISTABCDEFGHIJKLMNOPQRSTUVWXYZ
A
rt Work: ABCDEFGHIJKLMNOPQRSTUVWXYZ


CONTACT US
Xiamen China Wholesale Oil Painting Stretcher Bar Wholesale Frame Moulding Mirror Framed Stretched Paintings