Oil On Canvas, Real Flavor of Old Masters

All GAINSBOROUGH, Thomas 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Conversation in a Park sd, GAINSBOROUGH, Thomas
 Conversation in a Park sd   c. 1740 Oil on canvas, 73 x 68 cm Mus??e du Louvre, Paris
Johann Christian Bach sdf, GAINSBOROUGH, Thomas
 Johann Christian Bach sdf   1776 Oil on canvas Bibliografico Musicale, Museo Civico, Bologna
Johann Christian Fischer dg, GAINSBOROUGH, Thomas
 Johann Christian Fischer dg   c. 1780 Oil on canvas, 228,6 x 150,5 cm Royal Collection, Windsor
Landscape in Suffolk sdg, GAINSBOROUGH, Thomas
 Landscape in Suffolk sdg   c. 1750 Oil on canvas, 65 x 95 cm Kunsthistorisches Museum, Vienna
Landschaft in Suffolk, GAINSBOROUGH, Thomas
 Landschaft in Suffolk   Medium Oil on canvas Dimensions Deutsch: 66 x 95 cm Rahmenmaße: 95 x 124 x 11 cm
Mary, Countess of Howe sd, GAINSBOROUGH, Thomas
 Mary, Countess of Howe sd   1764 Oil on canvas, 244 x 152,4 cm Iveagh Bequest, Kenwood House, London
Master John Heathcote dfg, GAINSBOROUGH, Thomas
 Master John Heathcote dfg   1770 Oil on canvas, 127 x 101 cm National Gallery of Art, Washington
Mr and Mrs Andrews dg, GAINSBOROUGH, Thomas
 Mr and Mrs Andrews dg   1748-49 Oil on canvas, 70 x 119 cm National Gallery, London
Mr and Mrs William Hallett (The Morning Walk), GAINSBOROUGH, Thomas
 Mr and Mrs William Hallett (The Morning Walk)   1785 Oil on canvas, 236 x 179 cm National Gallery, London
Mrs Grace Dalrymple Elliot xdg, GAINSBOROUGH, Thomas
 Mrs Grace Dalrymple Elliot xdg   c. 1778 Oil on canvas, 234,3 x 153,6 cm Metropolitan Museum of Art, New York
Mrs Sarah Siddons dfg, GAINSBOROUGH, Thomas
 Mrs Sarah Siddons dfg   1785 Oil on canvas, 126 x 99,5 cm National Gallery, London
Patio Mediterraneo, GAINSBOROUGH, Thomas
 Patio Mediterraneo   circa 1890(1890) Medium oil on canvas Dimensions 45 X 25 cm cyf
Portrat des Heneage Lloyd und seiner Schwester, GAINSBOROUGH, Thomas
 Portrat des Heneage Lloyd und seiner Schwester   Medium Oil on canvas Dimensions Deutsch: 64 ?? 80 cm
Ritt zum Markt, GAINSBOROUGH, Thomas
 Ritt zum Markt   Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
Ritt zum Markt, GAINSBOROUGH, Thomas
 Ritt zum Markt   Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
River Landscape dg, GAINSBOROUGH, Thomas
 River Landscape dg   1768-70 Oil on canvas, 119 x 168 cm Museum of Art, Philadelphia
Self-Portrait dfhh, GAINSBOROUGH, Thomas
 Self-Portrait dfhh   1787 Oil on canvas Royal Academy of Arts, London
Six studies of a cat, GAINSBOROUGH, Thomas
 Six studies of a cat   310 x 447 mm
The Artist s Daughters with a Cat, GAINSBOROUGH, Thomas
 The Artist s Daughters with a Cat   1759-61 Oil on canvas, 75,6 x 62,9 cm National Gallery, London
The Artist-s Daughters with a Cat, GAINSBOROUGH, Thomas
 The Artist-s Daughters with a Cat   1759-61 Oil on canvas, 75,6 x 62,9 cm
the blue boy, GAINSBOROUGH, Thomas
 the blue boy   1779 henry e, huntingdon art gallery, san marino
The Marsham Children rdfg, GAINSBOROUGH, Thomas
 The Marsham Children rdfg   1787 Oil on canvas, 243 x 182 cm Staatliche Museen, Berlin
The watermill, GAINSBOROUGH, Thomas
 The watermill   Unknown date Source oil on canvas cyf
Thomas Graham, GAINSBOROUGH, Thomas
 Thomas Graham   Medium Oil on canvas Dimensions Deutsch: 237 ?? 154 cm
Tochter des Kunstlers, GAINSBOROUGH, Thomas
 Tochter des Kunstlers   Medium Oil on canvas Dimensions Deutsch: 76 ?? 64,5 cm

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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