Las óleos de todo Thomas Gainsborough

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Painting (From A to Z)

Details

82440

A Coastal Landscape

A Coastal Landscape-1784). Oil on Canvas. 25 x 30 in. (63.5 x 76.2 cm). Date 1782(1782) cjr

85794

A Coastal Landscape

1784 1782 (x) Medium Oil on canvas Dimensions 25 x 30 in (63.5 x 76.2 cm) cyf

1309

A Cottage Girl with Dog and Pitcher

98009

A Grand Landscape

early 1760s Medium oil on canvas cyf

29336

A woman in Blue

mk65 1770s Oil on canvas 30x25"

40951

An Extensive River Landscape with Cattle and a Drover and Sailing Boats in the distance

mk158 c.1757-59

90378

An Unknown Couple in a Landscape

mid-1750s Medium oil on canvas Dimensions 76.2 x 67 cm (30 x 26.4 in) cjr

40897

Bumper,a Bull Terrier

mk158 1745

92203

Chasing a Butterfly

Oil on Canvas Date 1756(1756) cyf

40895

Children Building Houses with Cards

mk158 c.1743

40902

Conversation in a Park

mk158 c.1746

20695

Conversation in a Park(perhaps the Artist and His Wife) (mk05)

Canvas 28 1/2 x 27''(73 x 68 cm)Given in 1952 R.F

64314

conversation in a park, c.

1750 paris, louvre

30613

Conversation in the Park

mk68 Oil on canvas Paris,Louvre 1746 Britain

40912

Cornard wood

mk158 1748

43294

Cornard Wood,Near Sudbury,Suffolk

mk170 1748 Oil on canvas 121.9x154.9cm

58920

Cottage Girl with Dog and pitcher

Cottage Girl with Dog and pitcher (1785)

1314

Count Rumford

40580

Countess Howe

mk156 1760 jOil on canvas 244x152.4cm

87927

Der Morgenspaziergang

Date 1785(1785) Medium Oil on canvas Dimensions Deutsch: 236 x 179 cm cjr

40900

Detail of Conversation in a Park

mk158 c.1746

40907

Detail of Cornard Wood

mk158 1748

40901

Detail of Landscape with a Peasant on a path

mk158 c.1746-47

40913

Detail of Landscape with a Peasant on a Path

mk158 c.1746-47

40938

Detail of Landscape with a Woodcutter courting a Milkmaid

mk158 1755

48668

Detail of Portrait of artist-s Wife

mk191 Oil on canvas

40946

Detail of Portrait of John Sparrowe

mk158 c.1758

40914

Detail of Portrait of Mr and Mrs Andrews

mk158 c.1750

40922

Detail of Portrait of Mr and Mrs Andrews

mk158 c.1750

40923

Detail of Portrait of Mr and Mrs Andrews

mk158 c.1750

40928

Detail of Portrait of Sarah,Mrs Tobias Rustat

mk158 c.1757

40949

Detail of Self-Portrait

mk158 c.1759

40941

Detail of The Painter-s Daughters Chasing a Butterfly

mk157 c.1756

31819

Details of The mall in St.James's Park

mk76 Painted probably in 1783 Oil on canvas 47 1/2x57 7/8in

24153

Diana and Actaeon (mk25)

c 1785

24163

Diana and Actaeon (mk25)

c 1785 (detial)

88702

Dorfmadchen mit Hund und Henkelkrug

1785(1785) Medium Oil on canvas Dimensions 174 x 125 cm cjr

28511

Dr.Isaac Henrique Sequeira

mk61 1775 Detail

28735

Dr.Isaac Henrique Sequeira

mk61 1775 Oil on canvas 127x102cm

40893

Drinkstone Park

mk156 c.1746

40903

Drinkstone Park

mk158 c.1746

97613

Gainsborough

1782(1782) Medium oil on canvas Dimensions 249.6 x 189 cm cyf

58906

Gainsborough Daughter Mary

Gainsborough`s Daughter Mary (1777)

58891

Gainsborough Mr and Mrs Andrews

Gainsborough's Mr and Mrs Andrews (1748-49). National Gallery, London.

32837

Gainsborough's Forest

mk81 c.1748

24256

George III (mk25

1781

40963

George Pitt,First Lord Rivers

mk158 1769

58912

Georgiana, Duchess of Devonshire

Georgiana, Duchess of Devonshire (1783)

1318

Girl with Pigs

1782 Castle Howard Collection

80126

Grace Elliott

1778(1778) Medium Oil on canvas Dimensions 234.3 x 153.7 cm (92.2 x 60.5 in) cyf

1317

Haymaker and Sleeping Girl

1785 Museum of Fine Arts, Boston

78971

Heneage Lloyd and His Sister

ca. 1750(1750) Medium Oil on canvas Dimensions 64 x 80 cm (25.2 x 31.5 in) cyf

24161

Henry Duke of Cumberland (mk25)

with the duchess of Cumberland and lady Elizabeth Luttrell 1783-6

40964

Isabella,Viscountess Molyneux

mk158 1769

83366

John Campbell

oil on canvas partial view of painting 18th century Date 18th century cyf

56134

john campbell ,4th duke of argyll

mk247 1767,oil on canvas,92x60.75 in,235x154.3 cm,scottish national portrait gallery,edinburgh,uk

58916

John Campbell, 4th Duke of Argyll

John Campbell, 4th Duke of Argyll (1767)

24029

John Hayes St Leger (mk25)

1782

40911

Jonathan Tyers with his daughter and son-in-law,Elizabeth and John Wood

mk158 c.1750

1320

Karl Friedrich Abel

1777 The Huntington Art Collections, San Marino

53846

Konstnarens dottrar jaggr a fjaril

mk234 the end of 1750-first century 115x105cm

20696

Lady Alston (mk05)

Ca 1760 Canvas 90 x 65 1/4''(228 x 166 cm)Given in 1947 R.F

1307

Lady Alston 4

1760-65 Musee du Louvre, Paris

33818

Lady and Gentleman in a Landscape

mk86 c.1746/47 Oil on canvas 73x86cm Paris,Musee National du Louvre

21938

Lady and Gentleman in a Landscape (mk08)

c.1746/47 Oil on canvas 73x86cm Paris,Musee National du Louvre

58917

Lady Georgiana Cavendish, Duchess of Devonshire

Unknown woman, formerly called: Lady Georgiana Cavendish, Duchess of Devonshire

64313

lady getrude alston

1750 paris, louvre

41062

Lady in Blue

mk159 1770s Oil on canvas 76x64cm

58909

Lady in Blue

Lady in Blue (c. 1770)

31815

Lady innes

mk76 Painted c.1757 Oil on canvs 40x28 5/8in

78955

Lady Sheffield

1785-1786 Medium Oil on canvas cyf

40932

Landguard Fort

mk158 1754

40939

Landscap with Peasant and Horses

mk158 1755

58896

Landscape in Suffolk

Landscape in Suffolk (1748)

40905

Landscape with a Peasant on a Path

mk158 c.1746-47

40936

Landscape with a Woodcutter cowrting a Milkmaid

mk158 1755

40937

Landscape with Peasant and Horses

mk158 1755

88485

Landschaft mit dem Dorfe Cornard

3rd quarter of 18th century Medium Oil on canvas Dimensions 76 x 151 cm cjr

40915

Lavenham Church from the South

mk158 1748

40898

Man in a Wood with a Dog

mk158 c.1746 Oil on canvas 66x49.5cm

40954

Margaret Gainsborough Gleaning

mk158 c.1758

40933

Marjor John Dade of Tannington,Suffolk

mk158 c.1754

93910

Mary and Margaret Gainsborough, the artist's daughters

circa 1758(1758) Medium oil on canvas Dimensions 40.6 x 58.4 cm (16 x 23 in) cjr

1303

Mary, Countess Howe

1760 Iveagh Bequest Kenwood

78972

Master John Heathcote

1770(1770) Oil on canvas Width: 101 cm (39.8 in). Height: 127 cm (50 in). cjr

80189

Master John Heathcote

1770(1770) Medium Oil on canvas cyf

40579

Miss Ann Ford

mk156 1760 Oil on canvas 192x135cm

33753

Miss Anne Ford

mk86 1760 Oil on canvas 197.1x134.9cm Cincinnati,Cincinnati Musuem of Art

21862

Miss Anne Ford (mk08)

1760 Oil on canvas 197.1x134.9cm Cincinnati,Cincinnati Museum of Art

64318

miss haverfield, c

178o london, the wallace collection

1302

Mr and Mrs Andrews

1750 National Gallery, London

40561

Mr and Mrs Andrews

mk156 c.1750 Oil o ncanvas 70x119cm

78674

Mr and Mrs Andrews

1750(1750) Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf

79198

Mr and Mrs Andrews

1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf

79287

Mr and Mrs Andrews

1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf

79345

Mr and Mrs Andrews

1750(1750) Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf

80082

Mr and Mrs Andrews

1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf

23295

Mr and Mrs Andrews (nn03)

c 1750 Oil on canvas 69.8 x 119.4 cm 27 1/4 x 47 in National Gallery London

40609

Mr and Mrs William Hallett

mk156 1785 Oil on canvas 236x179cm

58893

Mr and Mrs William Hallett

Mr and Mrs William Hallett (1785).

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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.

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