All the oil paintings of GAINSBOROUGH, Thomas

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ID	Image	Painting(From A to Z)	Details
6765		Conversation in a Park sd	c. 1740 Oil on canvas, 73 x 68 cm Mus??e du Louvre, Paris
6772		Johann Christian Bach sdf	1776 Oil on canvas Bibliografico Musicale, Museo Civico, Bologna
6775		Johann Christian Fischer dg	c. 1780 Oil on canvas, 228,6 x 150,5 cm Royal Collection, Windsor
6767		Landscape in Suffolk sdg	c. 1750 Oil on canvas, 65 x 95 cm Kunsthistorisches Museum, Vienna
70868		Landschaft in Suffolk	Medium Oil on canvas Dimensions Deutsch: 66 x 95 cm Rahmenmaße: 95 x 124 x 11 cm
6769		Mary, Countess of Howe sd	1764 Oil on canvas, 244 x 152,4 cm Iveagh Bequest, Kenwood House, London
6771		Master John Heathcote dfg	1770 Oil on canvas, 127 x 101 cm National Gallery of Art, Washington
6766		Mr and Mrs Andrews dg	1748-49 Oil on canvas, 70 x 119 cm National Gallery, London
6776		Mr and Mrs William Hallett (The Morning Walk)	1785 Oil on canvas, 236 x 179 cm National Gallery, London
6774		Mrs Grace Dalrymple Elliot xdg	c. 1778 Oil on canvas, 234,3 x 153,6 cm Metropolitan Museum of Art, New York
6777		Mrs Sarah Siddons dfg	1785 Oil on canvas, 126 x 99,5 cm National Gallery, London
97199		Patio Mediterraneo	circa 1890(1890) Medium oil on canvas Dimensions 45 X 25 cm cyf
70740		Portrat des Heneage Lloyd und seiner Schwester	Medium Oil on canvas Dimensions Deutsch: 64 ?? 80 cm
71958		Ritt zum Markt	Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
72032		Ritt zum Markt	Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
6770		River Landscape dg	1768-70 Oil on canvas, 119 x 168 cm Museum of Art, Philadelphia
6779		Self-Portrait dfhh	1787 Oil on canvas Royal Academy of Arts, London
43944		Six studies of a cat	310 x 447 mm
6768		The Artist s Daughters with a Cat	1759-61 Oil on canvas, 75,6 x 62,9 cm National Gallery, London
43632		The Artist-s Daughters with a Cat	1759-61 Oil on canvas, 75,6 x 62,9 cm
64316		the blue boy	1779 henry e, huntingdon art gallery, san marino
6778		The Marsham Children rdfg	1787 Oil on canvas, 243 x 182 cm Staatliche Museen, Berlin
97175		The watermill	Unknown date Source oil on canvas cyf
70685		Thomas Graham	Medium Oil on canvas Dimensions Deutsch: 237 ?? 154 cm
70541		Tochter des Kunstlers	Medium Oil on canvas Dimensions Deutsch: 76 ?? 64,5 cm

GAINSBOROUGH, Thomas
English Rococo Era/Romantic Painter, 1727-1788 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's 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.