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The feathery-haired collie in Gainsborough’s depiction of his dogs, Tristram and Fox, is markedly intelligent looking. Lucian Freud’s Pluto, grey and lean, is, I’d say, a canine version of Freud.
You get the picture: dogs are no random accessory, but an expression of their owner.
Flower girl Rouge in honor of it being Aerith Gainsborough’s birthday. Happy birthday Aerith!
This portrait represents a transitional style between Thomas #Gainsborough’s earliest portraits of relatively stiff, doll-life figures and his later, more naturalistic portraits. You can view this masterpiece, "Sarah, Lady Innes," on the fourth floor of #FrickMadison!
Thomas Gainsborough’s "Mall in St. James's Park" has recently undergone conservation treatment at The Met and is back on view on the fourth floor. Take a look into the conservation process with images from before, during, and after treatment!
He remained as creative as ever in his final decade & continued his lifelong method of integrating landscape & people. Diana & Actaeon (c1785) & The Mall (1783) are late masterpieces of this time. Gainsborough’s drawings show his care in forming such joyous compositions
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
Pictured is a transparent oil on glass by Thomas Gainsborough of a coastal scene w/ sailing and rowing boats in 1783, likely one of his ‘Show Box’ transparencies.
One of Gainsborough’s purposes for his ‘Show Box’ was to see and explore different effects of lighting. https://t.co/W2XJQNwx1G
what sorry I’m just thinking about Thomas Gainsborough’s Haymaker & Sleeping Girl
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 18thc portraits of Georgiana Cavendish, “Gee”, the Duchess of Devonshire reveal her beauty, wit, & charm. At 17, she married one of the highest ranked nobleman in the peerage. But he was a cold philanderer. Her life was sad, but her legacy as a polymath endures 🖋
#DonneInArte #Art
#BornOnThisDay Thomas Gainsborough’s portraits of friends: the Linley musical family, known as ‘The Nest of the Nightingales’
Here the singing Linley sisters
🖌Gainsborough, Double portrait of Elizabeth and Mary Linley, c. 1772
Dulwich Picture Gallery, London
Taking your daily exercise 1780s style. George Frost painted this copy of Gainsborough’s Ladies in the Mall in 1820. The painting was owned by Frost, who was influenced by Gainsborough & collected his art. Find out more about Frost on Collections Online - https://t.co/7CxD2ABX1u
It was also pretty common to Photoshop in a new family member if you had more children. Gainsborough’s portrait of the Byams in the @Holburne was painted in 1760 to commemorate their marriage, then repainted in 1766 to include their daughter--and update Mrs. Byam's hair and gown.
Gainsborough’s House @GH_Sudbury in its chrysalis form awaiting a spectacular emergence
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 Mrs Richard Brinsley Sheridan (1787) @ngadc #art #twitart @Folie_XVIIIeme
Thomas Gainsborough’s “The Painter’s Daughters Chasing a Butterfly” (c.1756) @NationalGallery #art #twitart @Folie_XVIIIeme
Thomas Gainsborough’s Portrait of Mrs. Sarah Siddons (1785) @NationalGallery #art #twitart @Folie_XVIIIeme