Las óleos de todo GAINSBOROUGH, Thomas

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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.

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