Steve Art Gallery LLC
USA Oil Painting Reproduction

 
 


Painting ID::  44571
Sarah Siddons
mk173 ca.1785 jOil on canvas 74.9x62.2cm

Gilbert Stuart Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44572
Sarah Siddons
mk173 1785 Oil on canvas 125.7x100.3cm

Thomas Gainsborough Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44577
Sarah Siddons
mk173 ca.1785-90 Oil on canvas 38.1x29.2cm

John Opie Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44580
Sarah Siddons
mk173 1782 Oil on canvas 76.2x66cm

Thomas Beach Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44587
Sarah Siddons
mk173 ca.1784 Oil on canvas 35.6x30.5cm

William Hamilton Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44591
Sarah Siddons
mk173 1783 Oil on canvas 76.2x61cm

George Romney Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  44602
Sarah Siddons
mk173 1790 Pencil on paper 19.1x12.4cm

Sir Thomas Lawrence Sarah Siddons oil painting reproduction


   
 

 

 
   
      


Painting ID::  78959
Sarah Siddons
1785(1785) Medium Oil on canvas Dimensions 126 x 100 cm (49.6 x 39.4 in) cyf

Thomas Gainsborough Sarah Siddons oil painting reproduction


   
 

 

 
   
      

Thomas Gainsborough
1727-1788 British Thomas Gainsborough Locations 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 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. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.
Sarah Siddons
1785(1785) Medium Oil on canvas Dimensions 126 x 100 cm (49.6 x 39.4 in) cyf

Related Paintings::.
| Autumn Landscape (nn04) | Fohn the Baptist preaching (mk33) | Saint anthony abbot in an extensive river landscape |


        
 
   
 

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