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Here are all the paintings of GAINSBOROUGH, Thomas 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 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 |
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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
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| 70541 |
 |
Tochter des Kunstlers |
Medium Oil on canvas
Dimensions Deutsch: 76 ?? 64,5 cm
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| GAINSBOROUGH, Thomas
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| 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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