Steve Art Gallery LLC
USA Oil Painting Reproduction

 
 


Painting ID::  479
Woman in Blue
1874 Musee du Louvre, Paris

 Jean Baptiste Camille  Corot Woman in Blue oil painting reproduction


   
 

 

 
   
      

This artist (Edvard Munch) is not available now.


Painting ID::  29355
Woman in Blue
mk65 ca.1899 Oil on canvas 35x28"

Paul Cezanne Woman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  33817
Woman in Blue
mk86 before 1780 Oil on canvas 76x64cm St Petersburg,Hermitage

Thomas Gainsborough Woman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  33874
Woman in Blue
mk87 1874 Oil on canvas 80x51cm Paris,Musee National du Louvre

Jean Baptiste Camille  Corot Woman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  40758
WOman in Blue
mk156 1874 Oil on canvas 80x50.5cm

Jean Baptiste Camille  Corot WOman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  64371
woman in blue
1874 paris, louvre

Jean Baptiste Camille  Corot woman in blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  64374
woman in blue
1877 the reader'sdigest, pleasantville, n. y

Pierre Renoir woman in blue oil painting reproduction


   
 

 

 
   
      

This artist (pablo picasso) is not available now.


Painting ID::  77571
Woman in Blue
Oil on canvas 76 ?? 64 cm (29.9 ?? 25.2 in) cjr

Thomas Gainsborough Woman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  79528
Woman in Blue
Oil on canvas 76 x 64 cm (29.9 x 25.2 in) Late 1770s - early 1780s cjr

Thomas Gainsborough Woman in Blue oil painting reproduction


   
 

 

 
   
      


Painting ID::  79602
Woman in Blue
Oil on canvas Late 1770s - early 1780s 76 x 64 cm (29.9 x 25.2 in) cjr

Thomas Gainsborough Woman in Blue 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.
Woman in Blue
Oil on canvas Late 1770s - early 1780s 76 x 64 cm (29.9 x 25.2 in) cjr

Related Paintings::.
| Portrait of Carolina Wilhelmina of Orange | Lifeline | Madonna and Child Enthroned with SS.Paulinus,john the Baptist,Andrew,and Matthew |


        
 
   
 

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