Thomas Gainsborough conversation in a park, c. Painting ID:: 64314 new22/Thomas Gainsborough-475647.jpg
conversation in a park, c. 1750
paris, louvre
Thomas Gainsborough Portrat der Mary Gainsborough, Tochter des Kunstlers Painting ID:: 68408 new23/Thomas Gainsborough-544747.jpg
Portrat der Mary Gainsborough, Tochter des Kunstlers 76 ?? 64,5 cm
1777
Thomas Gainsborough Portrat von Molly und Peggy mit Zeichenutensilien Painting ID:: 68449 new23/Thomas Gainsborough-436965.jpg
Portrat von Molly und Peggy mit Zeichenutensilien c. 1760
Thomas Gainsborough Portrat der Mrs Richard B Sheridan Painting ID:: 70496 new23/Thomas Gainsborough-448595.jpg
Portrat der Mrs Richard B Sheridan Medium Oil on canvas
Dimensions Deutsch: 220 ?? 154 cm
Thomas Gainsborough Portrat von Molly und Peggy mit Zeichenutensilien Painting ID:: 70554 new23/Thomas Gainsborough-977343.jpg
Portrat von Molly und Peggy mit Zeichenutensilien Medium Oil on canvas
Thomas Gainsborough Ritt zum Markt Painting ID:: 70969 new23/Thomas Gainsborough-384497.jpg
Ritt zum Markt c. 1769
Oil on canvas
122 x 147 cm
Thomas Gainsborough Pfeiferauchender Bauer vor der Huttentxr Painting ID:: 71371 new23/Thomas Gainsborough-547643.jpg
Pfeiferauchender Bauer vor der Huttentxr 1788(1788)
Oil on canvas
196 x 158 cm
Thomas Gainsborough Pfeiferauchender Bauer vor der Huttentur Painting ID:: 72493 new23/Thomas Gainsborough-544886.jpg
Pfeiferauchender Bauer vor der Huttentur Date 1788(1788)
Medium Oil on canvas
Dimensions Deutsch: 196 X 158 cm
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Thomas Gainsborough Oil painting by Thomas Gainsborough of Count Rumford who was an American born soldier, statesman, scientist, inventor and social reformer. Painting ID:: 73846 new24/Thomas Gainsborough-534669.jpg
Oil painting by Thomas Gainsborough of Count Rumford who was an American born soldier, statesman, scientist, inventor and social reformer. Oil painting by Thomas Gainsborough of Count Rumford (born Benjamin Thompson, 1753?C1814) who was an American born soldier, statesman, scientist, inventor and social reformer.
1783(1783)
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Thomas Gainsborough Portrait of Giovanna Baccelli Painting ID:: 74903 new24/Thomas Gainsborough-636739.jpg
Portrait of Giovanna Baccelli ca. 1782(1782)
Oil on canvas
2,267 X 1,486 mm (89.25 X 58.5 in)
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Thomas Gainsborough Portrait of the Queen Charlotte Painting ID:: 75919 new24/Thomas Gainsborough-467764.jpg
Portrait of the Queen Charlotte 1781(1781)
Oil on canvas
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Thomas Gainsborough Portrait of Mr and Mrs Carter of Bullingdon House, Bulmer, Essex Painting ID:: 75981 new24/Thomas Gainsborough-943477.jpg
Portrait of Mr and Mrs Carter of Bullingdon House, Bulmer, Essex ca. 1747−8(1747−8)
Oil on canvas
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Thomas Gainsborough Portrait of Carl Friedrich Abel German composer Painting ID:: 76035 new24/Thomas Gainsborough-858559.jpg
Portrait of Carl Friedrich Abel German composer 1777(1777)
Oil on canvas
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Thomas Gainsborough Portrait of Georgiana, Duchess of Devonshire Painting ID:: 76347 new24/Thomas Gainsborough-968856.jpg
Portrait of Georgiana, Duchess of Devonshire 1783(1783)
Oil on canvas
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Thomas Gainsborough Portrait of Giovanna Baccelli Painting ID:: 76452 new24/Thomas Gainsborough-894965.jpg
Portrait of Giovanna Baccelli Date ca. 1782(1782)
Medium Oil on canvas
Dimensions 2,267 ?? 1,486 mm (89.25 ?? 58.5 in)
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Thomas Gainsborough Portrait of Lady Margaret Georgiana Poyntz later Margaret Georgiana Spencer, Countess Spencer Painting ID:: 76471 new24/Thomas Gainsborough-558899.jpg
Portrait of Lady Margaret Georgiana Poyntz later Margaret Georgiana Spencer, Countess Spencer ca. 1775(1775)
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Thomas Gainsborough Suffolk Landscape Painting ID:: 76733 new24/Thomas Gainsborough-558776.jpg
Suffolk Landscape Suffolk Landscape, mid-1750s oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum.
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Thomas Gainsborough Portrait of Edward Ligonier, 1st Earl Ligonier Painting ID:: 76881 new24/Thomas Gainsborough-953899.jpg
Portrait of Edward Ligonier, 1st Earl Ligonier 1770(1770)
Oil on canvas
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Thomas Gainsborough Portrait of Ann Ford Painting ID:: 77055 new24/Thomas Gainsborough-793593.jpg
Portrait of Ann Ford 1760(1760)
Oil on canvas
197 ?? 135 cm (77.6 ?? 53.1 in)
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Thomas Gainsborough Portrait of Sarah Kirby and John Joshua Kirby Painting ID:: 77156 new24/Thomas Gainsborough-947894.jpg
Portrait of Sarah Kirby and John Joshua Kirby ca. 1751-1752
Oil on canvas
768 ?? 637 mm (30.24 ?? 25.08 in)
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Thomas Gainsborough Portrait of the Artist's Daughters Painting ID:: 77173 new24/Thomas Gainsborough-956394.jpg
Portrait of the Artist's Daughters Probably painted in the early 1760s
Oil
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Thomas Gainsborough Self-portrait Painting ID:: 77174 new24/Thomas Gainsborough-898984.jpg
Self-portrait 1754(1754)
Oil on canvas
58 ?? 49 cm (22.8 ?? 19.3 in)
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Thomas Gainsborough Portrait of Grace Elliott Painting ID:: 77315 new24/Thomas Gainsborough-969837.jpg
Portrait of Grace Elliott 1778(1778)
Oil on canvas
234.3 ?? 153.7 cm (92.2 ?? 60.5 in)
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Thomas Gainsborough Woman in Blue Painting ID:: 77571 new24/Thomas Gainsborough-737975.jpg
Woman in Blue Oil on canvas
76 ?? 64 cm (29.9 ?? 25.2 in)
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Thomas Gainsborough Portrait of the Queen Charlotte Painting ID:: 77713 new24/Thomas Gainsborough-757956.jpg
Portrait of the Queen Charlotte 1781(1781)
Medium Oil on canvas
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Thomas Gainsborough Portrait of Mr and Mrs Carter of Bullingdon House Painting ID:: 77790 new24/Thomas Gainsborough-693675.jpg
Portrait of Mr and Mrs Carter of Bullingdon House ca. 1747−8(1747−8)
Medium Oil on canvas
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Thomas Gainsborough Portrait of James Christie Painting ID:: 77819 new24/Thomas Gainsborough-446339.jpg
Portrait of James Christie 1778(1778)
Oil on canvas
49.6 ?? 40.1 in (126 ?? 101.9 cm)
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Thomas Gainsborough Portrait of Edward Ligonier Painting ID:: 77952 new24/Thomas Gainsborough-789866.jpg
Portrait of Edward Ligonier Date 1770(1770)
Medium Oil on canvas
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Thomas Gainsborough Portrait of Carl Friedrich Abel Painting ID:: 77961 new24/Thomas Gainsborough-587473.jpg
Portrait of Carl Friedrich Abel 1777(1777)
Medium Oil on canvas
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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.