Dr Robert Bohanさんのイラストまとめ

Thread: My art is informed by my experience & my deep love of nature & Irish Celtic art & culture. It draws on my subconscious to create images that are both symbolic & powerful. I believe art is about engagement & as part of that I have a special offer for February. Take a look!

In his final years Gainsborough created some of the most elegant English portraits of the 18th C. His Morning Walk (1785), Mrs Sheridan (1785-6) & Duke of Kent (c1787) are supreme examples of an artist who understood beauty & human frailty

As a foil to his society portraits he began his Cottage series where, influenced by Murillo, he sought to raise the stature of what he saw as honest peasant life. Cottage Girl (1785), Girl with Pigs (1782) & Cottage Door (1780s). The Cottage Girl is his masterpiece in @NGIreland

As the artist matured his brushwork became more fluid & he used longer brushes which gave his work a sense of movement. His portraits of the Duchess of Beaufort (c1775), Mrs Graham (c1775) & of his nephew & assistant Gainsborough DuPont (c1775) are ravishing masterpieces

Gainsborough’s first love was always landscape painting & he snook it into his portraits where he could. Peasants Returning from Market (1767-8) & the Harvest Wagon (1767). He continued to study & learn from Old Masters such as Rubens’ Descent from the Cross (1760s)

In 1759 the family moved to fashionable Bath to gain more lucrative sitters. He took time to study Van Dyck & the results were magnificent. Countless of Howe (1764), Lord Vernon (1767) & the famous Blue Boy (1770). The latter was his successful challenge to Van Dyck

Gainsborough’s greatest portraits from the 1750s are of his family. Miss Gainsborough Gleaning (1756-9), the Painter’s Daughters (1758) & the Artist’s Wife (c1758) attest to his growing maturity as a portraitist, as well as his love for his family

By 1752 the Gainsboroughs were in Ipswich. Portraits & money troubles (driven by his love of the good life) were a theme. He sought to place his portraits in sylvan surrounds. The Gravenor Family (1752-4), John Plampin (1753-5) & the Lloyds (1755)

In 1784 he used his position to ensure he was made painter to the King at the expense of his rival Gainsborough. Status was all to him. Francis Rawdon-Hastings (1789-90), Colonel Tarleton (1782), George Eliot (1787) & Francis Hare (1788-9)

He was the ultimate Academician in that his first concern was status & clique whereas those artists of stature choose their own path (Rembrandt, Kollwitz, Rego & Goya etc). Lady Frances Finch (1781-2), Captain Coussmaker (c1782), Self (1780) & Countess Spencer (1781-2)