Thomas Gainsborough The Artist-s Daughters with a Cat Painting ID:: 51017 new18/Thomas Gainsborough-639534.jpg
The Artist-s Daughters with a Cat 1759-61
Oil on canvas,
75,6 x 62,9 cm
Thomas Gainsborough The Honourable Painting ID:: 52721 new19/Thomas Gainsborough-585535.jpg
The Honourable mk223
Mrs Graham Mrs Graham was one of the many society beauties Gainsborough painted in order to make a living,although he preferred painting landscapes
Thomas Gainsborough Konstnarens dottrar jaggr a fjaril Painting ID:: 53846 new19/Thomas Gainsborough-642428.jpg
Konstnarens dottrar jaggr a fjaril mk234
the end of 1750-first century
115x105cm
Thomas Gainsborough Mrs. Richard Brinsley Sheridan Painting ID:: 53848 new19/Thomas Gainsborough-242658.jpg
Mrs. Richard Brinsley Sheridan mk234
1785/86
220x154cm
Thomas Gainsborough mr.and mrs.andrews Painting ID:: 56118 new20/Thomas Gainsborough-778687.jpg
mr.and mrs.andrews mk247
c.1750,oil on canvas,27x47 in,70x119.5 cm,national gallery,london,uk
Thomas Gainsborough john campbell ,4th duke of argyll Painting ID:: 56134 new20/Thomas Gainsborough-244289.jpg
john campbell ,4th duke of argyll mk247
1767,oil on canvas,92x60.75 in,235x154.3 cm,scottish national portrait gallery,edinburgh,uk
Thomas Gainsborough the blue boy Painting ID:: 56138 new20/Thomas Gainsborough-746433.jpg
the blue boy mk247
1770,oil on canvas,70x48 in,178x122 cm,huntington art collections,san marino,ca,usa
Thomas Gainsborough mrs.richard brinsley sheridan Painting ID:: 56152 new20/Thomas Gainsborough-842656.jpg
mrs.richard brinsley sheridan mk247
1785 to 87,oil on canvas,86.625x60.625 in,220x154 cm,national gallery of art,washington ,dc,usa
Thomas Gainsborough the harvest wagon Painting ID:: 56578 new20/Thomas Gainsborough-226859.jpg
the harvest wagon mk248 gainsborougb, som enbart verkade i sin atelje, ardetade ofta mot en malad landskapspsfond, upplyst av levande ljud.han kom att upppskarra rubens ocb den nederlandske madtarens influenser marks bar i de flytande liytande linjerna ocb korsnedtagningen.
Thomas Gainsborough Gainsborough Mr and Mrs Andrews Painting ID:: 58891 new20/Thomas Gainsborough-793296.jpg
Gainsborough Mr and Mrs Andrews Gainsborough's Mr and Mrs Andrews (1748-49). National Gallery, London.
Thomas Gainsborough The Blue Boy Painting ID:: 58892 new20/Thomas Gainsborough-932526.jpg
The Blue Boy The Blue Boy (1770). The Huntington, California.
Thomas Gainsborough Mr and Mrs William Hallett Painting ID:: 58893 new20/Thomas Gainsborough-363378.jpg
Mr and Mrs William Hallett Mr and Mrs William Hallett (1785).
Thomas Gainsborough Mrs Thomas Hibbert. Neue Pinakothek. Painting ID:: 58894 new20/Thomas Gainsborough-692784.jpg
Mrs Thomas Hibbert. Neue Pinakothek. Mrs Thomas Hibbert. Neue Pinakothek.
Thomas Gainsborough The Painter Daughters Chasing a Butterfly Painting ID:: 58895 new20/Thomas Gainsborough-963823.jpg
The Painter Daughters Chasing a Butterfly The Painter`s Daughters Chasing a Butterfly
Thomas Gainsborough Landscape in Suffolk Painting ID:: 58896 new20/Thomas Gainsborough-642386.jpg
Landscape in Suffolk Landscape in Suffolk (1748)
Thomas Gainsborough Sunset Painting ID:: 58898 new20/Thomas Gainsborough-262254.jpg
Sunset Sunset (1760)
Thomas Gainsborough Two Daughters with a Cat Painting ID:: 58903 new20/Thomas Gainsborough-565548.jpg
Two Daughters with a Cat Two Daughters with a Cat (c. 1759)
Thomas Gainsborough The Artist Daughters, Molly and Peggy Painting ID:: 58905 new20/Thomas Gainsborough-774549.jpg
The Artist Daughters, Molly and Peggy The Artist`s Daughters, Molly and Peggy (1760)
Thomas Gainsborough Gainsborough Daughter Mary Painting ID:: 58906 new20/Thomas Gainsborough-532288.jpg
Gainsborough Daughter Mary Gainsborough`s Daughter Mary (1777)
Thomas Gainsborough River Landscape Painting ID:: 58907 new20/Thomas Gainsborough-767254.jpg
River Landscape River Landscape
Thomas Gainsborough Self-Portrait Painting ID:: 58908 new20/Thomas Gainsborough-774822.jpg
Self-Portrait Self-Portrait (1754)
Thomas Gainsborough Lady in Blue Painting ID:: 58909 new20/Thomas Gainsborough-255583.jpg
Lady in Blue Lady in Blue (c. 1770)
Thomas Gainsborough Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba Painting ID:: 58910 new20/Thomas Gainsborough-733664.jpg
Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba (c. 1765)
Thomas Gainsborough Georgiana, Duchess of Devonshire Painting ID:: 58912 new20/Thomas Gainsborough-984259.jpg
Georgiana, Duchess of Devonshire Georgiana, Duchess of Devonshire (1783)
Thomas Gainsborough John Campbell, 4th Duke of Argyll Painting ID:: 58916 new20/Thomas Gainsborough-636292.jpg
John Campbell, 4th Duke of Argyll John Campbell, 4th Duke of Argyll (1767)
Thomas Gainsborough Lady Georgiana Cavendish, Duchess of Devonshire Painting ID:: 58917 new20/Thomas Gainsborough-923893.jpg
Lady Georgiana Cavendish, Duchess of Devonshire Unknown woman, formerly called: Lady Georgiana Cavendish, Duchess of Devonshire
Thomas Gainsborough Mrs. Richard B. Sheridan Painting ID:: 58919 new20/Thomas Gainsborough-327223.jpg
Mrs. Richard B. Sheridan Mrs. Richard B. Sheridan (1785-86)
Thomas Gainsborough Cottage Girl with Dog and pitcher Painting ID:: 58920 new20/Thomas Gainsborough-492799.jpg
Cottage Girl with Dog and pitcher Cottage Girl with Dog and pitcher (1785)
Thomas Gainsborough lady getrude alston Painting ID:: 64313 new22/Thomas Gainsborough-654445.jpg
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.