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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)
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
Gainsborough’s final key melodrama Jassy (1947) is today’s #lockdown film. @TalkingPicsTV, 11:30am. Superb cast; Margaret Lockwood, Patricia Roc, Dennis Price and brilliant Technicolor cinematography by Geoffrey Unsworth (2001, Cabaret, Superman). Check out the German poster!
This is one of Gainsborough’s most beautiful portraits. It’s of Elizabeth Linley, Mrs Richard Brinsley Sheridan (1785/7). The artist constantly sought to integrate nature into his portraits & in this example he achieved that superbly.
Thomas Gainsborough’s “Portrait of Anne, Countess of Chesterfield” (1777-78) @GettyMuseum #art #twitart @Folie_XVIIIeme
Gainsborough’s portrait shows Elizabeth Linley, a soprano singer who left her career behind to support her husband Richard Sheridan, a prominent politician, playwright, and orator.
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)
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
The artist had a circle of intellectual friends including Goldsmith, Fox, Johnson & Kauffman. This contrasts with Gainsborough’s many musical friends & fondness for the Demi-Monde. Ms Monckton (1777-8) & Mrs Abington (1771) demonstrate his depiction of women as sexual objects.
Another feature of Gainsborough’s art is his fondness for painting intelligent hounds. Pomeranian & Puppy (c1777), Isabelle Franks (1775-8) & The Artist’s Wife, Margaret Burr (c1778)
Madurai in Raspberry, part of our Renaissance - The Grand Tour collection which nods to Gainsborough’s past but with a clear eye on the future.A lovely archive design with a gentle flowing pattern.
#gainsboroughweaving
Exhibition | Gainsborough’s Family Album https://t.co/qufBJS4Q54
'Gainsborough’s ‘Blue boy’ by Susan Sloman. http://t.co/225kmOciVD (April 2013) #article