Thomas Gainsborough (1727-88)

Total Page：16

File Type：pdf, Size：1020Kb

18/03/2007 Thomas Gainsborough (1727-88) Mr. and Mrs. Andrews, detail, 1750, oil on canvas, National Gallery at London. jamp'07 1 jamp'07 2 The Painter's Daughters Chasing a Butterfly, 1755-56, The National Gallery, London. Study of a Sheep, 1757-59, black and white chalks on grey paper, Staatliche Museen, Berlin. jamp'07 3 jamp'07 4 The Painter's Daughters with a Cat, unfinished, 1758-60, The National Mrs. Philip Thicknesse, 1759-60, Gallery, London. Cincinnati Art Museum, Ohio. jamp'07 5 jamp'07 6 1 18/03/2007 Mary, Countess Howe, approx. 1760, Lady Alston, 1760-65, canvas, oil on canvas, Iveagh Bequest Musée du Louvre, Paris. Kenwood. jamp'07 7 jamp'07 8 Portrait of Henrietta Vernon (Lady Grosvenor, wife of Richard, first Earl Grosvenor), 1766-67, oil on canvas, Collection of His Grace, The Duke of Westminster. Studies of a Cat, 1765-69, black chalk, stump and white chalk on paper. Rijksmuseum, Amsterdam. jamp'07 9 jamp'07 10 Portrait of Jonathan Buttall (The Blue Boy), 1770, oil on canvas, The Huntington Art Collections, San Marino. The Harvest Wagon, 1767, oil on canvas, Barber Institute of Fine-Arts at Birmingham. jamp'07 11 jamp'07 12 2 18/03/2007 Portrait of a Lady in Blue, late 1770s, oil on canvas, The Hermitage at St. The Linley Sisters (Mrs. Sheridan and Petersburg. Mrs. Tickell), 1772, Dulwich Picture Gallery, London. jamp'07 13 jamp'07 14 Johann Christian Bach, 1776, oil on canvas, Civico Museo Bibliografico The Honorable Mrs. Graham, 1775-77, Musicale, Bologna. National Gallery of Scotland, Edinburgh. jamp'07 15 jamp'07 16 Wooded Landscape with Mounted Karl Friedrich Abel, 1777, oil on canvas, Drover, 1780, oil on canvas, The Huntington Art Collections, San private collection. Marino. jamp'07 17 jamp'07 18 3 18/03/2007 Haymaker and Sleeping Girl (Mushroom Girl), 1785, oil on canvas, Museum of Fine Arts, Girl with Pigs, 1782, oil on canvas, Castle Howard Collection. Boston. jamp'07 19 jamp'07 20 The Morning Walk (Mr. and Mrs. William Mrs. Richard Brinsley Sheridan, Hallet), 1785-86, National Gallery at canvas, 1785-87. London. jamp'07 21 jamp'07 22 Self-Portrait, 1787, oil on canvas, Royal Academy of Arts, London. jamp'07 23 4.

Copy Link

Recommended publications

Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once.
[Show full text]
Stanley Kubrick's 18Th Century
Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society.
[Show full text]
Edrs Price Descriptors
DOCUMENT RESUME ED 088 224 EA 005 958 AUTHOR Kohl, Mary TITLE Guide to Selected Art Prints. Using Art Prints in Classrooms. INSTITUTION Oregon Association for Supervision and Curriculum Development, Salem. PUB DATE Mar 74 NOTE 43p.; Oregon'ASCD Curriculum Bulletin v28 n322 AVAILABLE FROMOregon Association for Supervision and Curriculum Development, P.O. Box 421, Salem, Oregon 9730A, ($2.00) EDRS PRICE MF-$0.75 HC-$1.85 DESCRIPTORS *Art Appreciation; *Art Education; *Art Expression; Color Presentation; Elementary Schools; *Painting; Space; *Teaching Guides IDENTIFIERS Texture ABSTRACT A sequential framework of study, that can be individually and creatively expanded, is provided for the purpose of developing in children understanding of and enjoyment in art. .The guide indicates routes of approach to certain kinds of major art, provides historical and biographical information, clarifies certain fundamentals of art, offers some activities related to the various ,elements, and conveys some continuing enthusiasm for the yonder of art creation. The elements of art--color, line, texture, shape, space, and forms of expression--provide the structure of pictorial organization. All of the pictures recomme ded are accessible tc teachers through illustrations in famil'a art books listed in the bibliography. (Author/MLF) US DEPARTMENT OF HE/ EDUCATION & WELFAS NATIONAL INSTITUTE I EOW:AT ION THIS DOCUMENT HAS BEEF DUCED EXACTLY AS RECEIV e THE PERSON OR ORGANIZATIO ATING IT POINTS OF VIEW OR STATED DO NOT NECESSAR IL SENT OFFICIAL NATIONAL INS1 EDUCATION POSIT100. OR POL Li Vi CD CO I IP GUIDE TO SELECTED ART PRINTS by Mary Kohl 1 INTRODUCTION TO GUIDE broaden and deepen his understanding and appreciation of art.
[Show full text]
Artists` Picture Rooms in Eighteenth-Century Bath
ARTISTS' PICTURE ROOMS IN EIGHTEENTH-CENTURY BATH Susan Legouix Sloman In May 1775 David Garrick described to Hannah More the sense of well being he experienced in Bath: 'I do this, & do that, & do Nothing, & I go here and go there and go nowhere-Such is ye life of Bath & such the Effects of this place upon me-I forget my Cares, & my large family in London, & Every thing ... '. 1 The visitor to Bath in the second half of the eighteenth century had very few decisions to make once he was safely installed in his lodgings. A well-established pattern of bathing, drinking spa water, worship, concert and theatre-going and balls meant that in the early and later parts of each day he was likely to be fully occupied. However he was free to decide how to spend the daylight hours between around lOam when the company generally left the Pump Room and 3pm when most people retired to their lodgings to dine. Contemporary diaries and journals suggest that favourite daytime pursuits included walking on the parades, carriage excursions, visiting libraries (which were usually also bookshops), milliners, toy shops, jewellers and artists' showrooms and of course, sitting for a portrait. At least 160 artists spent some time working in Bath in the eighteenth century,2 a statistic which indicates that sitting for a portrait was indeed one of the most popular activities. Although he did not specifically have Bath in mind, Thomas Bardwell noted in 1756, 'It is well known, that no Nation in the World delights so much in Face-painting, or gives so generous Encouragement to it as our own'.3 In 1760 the Bath writer Daniel Webb noted 'the extraordinary passion which the English have for portraits'.4 Andre Rouquet in his survey of The Present State of the Arts in England of 1755 described how 'Every portrait painter in England has a room to shew his pictures, separate from that in which he works.
[Show full text]
Finding Art in History
Grades 4 – 8 Finding History in Art TEACHER INFORMATION: This tour features works of art that record history. Students will use a variety of skills to uncover the historic component of each work. They will sketch, compare works, identify key elements of style, and suggest an ending to the story, or narrative, presented in the art. These skills are recommended in the California curriculum standards. Before your visit, please select chaperones and prepare them for this visit; the Huntington requires one adult chaperone for each group of 10 students. Print enough copies of the worksheet and provide pencils for the chaperone and students (no pens are permitted in the galleries). The chaperone will lead a group to the four highlighted works and read the instructions. When you arrive at the Huntington, get a map for each teacher and chaperone. The Huntington guards can also direct you to the galleries. Assign different starting points for each chaperone to avoid crowding before works of art. Please be informed that some works may not be on display the day you visit. Additional activities before and after your visit can be based on materials provided at the Huntington’s website, as well as images of the highlighted works. We hope you enjoy your visit to the Huntington! Optional Follow-up Activities for the Classroom: Bingham, In a Quandary, or Mississippi Raftsmen at Cards Classroom activity: Research types of transportation used in 19th-century America, including river boats and overland stages. Refer to the contributions of the Huntingtons in the development of the transcontinental railroad.
[Show full text]
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage.
[Show full text]
Catalogue Raisonne of Gainsborough's Portraits, Fancy Pictures and Copies of Old Master Works
Catalogue Raisonne of Gainsborough's Portraits, Fancy Pictures and Copies of Old Master Works. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press. Compiled by Hugh Belsey, Art Historian and accepted authority in Gainsborough's art. During his period of office as Curator at Gainsborough's House from 1981 he oversaw the purchase of the bulk of its present collection of original works by the artist. The Catalogue is in two large volumes and covers over 1,100 paintings which includes nearly 200 works newly attributed to the painter. It now means that with the late John Hayes's two volume publication, The Landscape Paintings of Thomas Gainsborough, all Gainsborough's known oil paintings are now catalogued. Hugh Belsey, who now lives in Bury St. Edmunds, completed this excellent work in July 2018 and it was published in February 2019. It was shown to the members of Sudbury History Society at their April meeting and it was suggested that they be allowed to donate towards the cost of £150 to purchase a copy and present it to Sudbury Library. There was a particular reason for this because for the first time ever one will be able to sit and study the faces of a substantial number of people from 18th century Sudbury and district. Many of them are in private collections and often in the possession of family descendants. There are also some surprises, perhaps the most interesting and exciting for Sudbury is the case of the painter's nephew - Gainsborough Dupont. The pictures are in alphabetic order of the subject's name.
[Show full text]
Primary Teachers' Notes 2014-15
PRIMARY TEACHERS’ NOTES 2014–15 ‘MR AND MRS ANDREWS’, c.1750 OIL ON CANVAS 69.8 x 119.4 CM THOMAS GAINSBOROUGH © The National Gallery, London © The National Gallery, ABOUT THE ARTIST Andrews, was a local landowner and his son seems to have devoted his energies to farming and improving the Thomas Gainsborough (1727 – 1788) was born in Sudbury land he inherited. in Suffolk, and educated at the grammar school there until the age of 14. He then went to London to study drawing His wife, also from a local landowning family, was born with the French artist Gravelot who is probably responsible Frances Carter in around 1732. She was only around for introducing him to the circle of artists at the St Martin’s 18 at the time of the painting. The match was probably Lane Academy, run by William Hogarth. engineered by the two fathers in order to consolidate and secure their lands. He married Margaret Burr in 1746 and they returned to Sudbury where their daughters were born. The National The Setting Gallery has a 1748 self-portrait of the artist with his wife Soon after his marriage Robert Andrews inherited the with their first daughter, who died very young, and two house and estate of Auberies, the setting for the painting. charming portraits of the surviving girls whom he painted It has been suggested that this is not just a double portrait throughout their lives. but a triple portrait of Andrews, his wife and his estate. The painting looks out across the landscape, south over the In 1752 Gainsborough set up practice in Ipswich.
[Show full text]
The Morgan Library & Museum Presents Exceptional Group of Drawings by Thomas Gainsborough in New Exhibition
Press Contact Shaili Shah 212.590.0311, [email protected] THE MORGAN LIBRARY & MUSEUM PRESENTS EXCEPTIONAL GROUP OF DRAWINGS BY THOMAS GAINSBOROUGH IN NEW EXHIBITION Thomas Gainsborough: Experiments in Drawing May 11 to August 19, 2018 New York, NY, April 9, 2018 — Renowned for his portraiture and depictions of rural landscapes, the eighteenth-century British artist Thomas Gainsborough (1727–1788) is best known as a painter. However, he was also a draftsman of rare ability who extended the traditional boundaries of drawing technique, inspiring an entire generation of British artists such as John Constable (1776–1837) and J. M. W. Turner (1775–1851). Beginning May 11, the Morgan Library & Museum presents an exhibition solely focused on Gainsborough’s works on paper, bringing together twenty-two outstanding examples in graphite, chalk, oil paint, and other media. Included in the show, which runs through August 19, are preparatory studies, finished works, and exercises made for the Lady Walking in a Garden , ca. 1785, The Morgan Library & Museum, III, 63b. Photography by Steven artist’s own enjoyment. H. Crossot, 2014. “As with many artists, Thomas Gainsborough used the medium of drawing to experiment and explore,” said Colin B. Bailey, director of the Morgan Library & Museum. “Famous in his day for his paintings of members of the British aristocracy and gentry, he eagerly turned to drawing as a respite from his portrait work. It allowed him the freedom to pursue his passion for rendering nature and scenes of country life utilizing new stylistic effects in color, line, and material. The Morgan is pleased to present its first exhibition on this important aspect of Gainsborough’s art.” THE EXHIBITION The Career of a Portrait Painter Thomas Gainsborough trained in London, where he displayed an innate talent for drawing and painting.
[Show full text]
L1013 Wolf, Goya's Red Boy, 144-173, FINALFINAL
REVA WOLF Goya’s “Red Boy” The Making of a Celebrity R W Reva Wolf came to study with Jonathan Brown when, as a student in his seminar on Francisco Goya, she discovered the topic of her Ph.D. dissertation. Brown served as co-advisor with Robert Rosenblum for the dissertation, entitled “Francisco Goya and the Interest in British Art and Aesthetics in Late Eighteenth-Century Spain”, which Wolf defended in . Growing directly out of this Ph.D. work was Wolf’s book and exhibition, Goya and the Satirical Print (). She also wrote one of her two Master’s degree qualifying papers, The Hall of Battles at El Escorial, under Brown’s guidance. Her first professional writing assignment, the essay “Onlooker, Witness and Judge in Goya’s Disasters of War,” for the catalogue of the exhibition Fatal Consequences: Callot, Goya, and the Horrors of War (), was due to Brown’s recommendation. Wolf has n , Harry B. Wehle, a curator at the Metropolitan Museum of Art in New contributed several catalogue entries to the forthcoming publication IYork, proclaimed that Francisco Goya’s portrait of Don Manuel Osorio de accompanying an exhibition of Spanish drawings at The Frick Collection for Zúñiga (fig. ) “is so popular among American art lovers as to require no com- which Brown is co-curator ( ). ment.” Indeed, Goya’s painting of the strikingly delicate young boy had enjoyed Wolf holds the position of Professor of Art History at the State University of an enthusiastic audience since shortly after its arrival in the United States nearly New York at New Paltz.
[Show full text]
December 2012
Ng to For immediate release: 12 August 2021 Rediscovered drawings by young Gainsborough to go on display for the first time across England and Ireland Twenty-five landscape drawings reattributed to Thomas Gainsborough (1727–88) will go on display for the first time in an exhibition Young Gainsborough: Rediscovered Landscape Drawings, travelling to York Art Gallery, the National Gallery of Ireland and Nottingham Castle in 2021 and 2022. Produced in the late 1740s when Gainsborough was in his early twenties, the drawings offer an intimate glimpse into the early career of one of Britain’s best-loved artists. The drawings were previously believed to be by the painter Sir Edwin Landseer, having been acquired by Queen Victoria from his studio in 1874. They were then housed in the Print Room at Windsor Castle, bound in an album titled 'Sketches by Sir E Landseer'. In 2013, the art historian Lindsay Stainton identified one of the drawings as a study for Gainsborough’s most celebrated landscape painting, Cornard Wood (c.1748), leading to the reattribution of the drawings to Gainsborough. This discovery represents a major contribution to Gainsborough’s work as a draughtsman, and dramatically expands the number of known drawings from this early part of his career. To place the drawings in context, the exhibition will feature other paintings and drawings from Gainsborough’s early years. Visitors will Thomas Gainsborough, Study for Cornard Wood, c.1748 gain an understanding of how Gainsborough made his drawings and experience the brilliance of his close attention to every detail in nature. The youngest son of a cloth merchant from Sudbury, Thomas Gainsborough displayed artistic promise from a young age, and much of his youth was spent producing landscape views of his home county of Suffolk.
[Show full text]
Thomas Gainsborough's Mr. and Mrs. Andrews
Race, Class, & Wealth: Thomas Gainsborough’s Mr. and Mrs. Andrews (1750) and Yinka Shonibare’s Mr. and Mrs. Andrews without their Heads (1998) Written by Yema Thomas This paper will explore colonialism and identity through the creative lens of British artist, Yinka Shonibare MBE. Through his installations, Shonibare challenges the role of history and positions of power from the colonial period to the present. In 1998, he created Mr. and Mrs. Andrews without their Heads, a satirical rendition of Thomas Gainsborough's painting, Mr. and Mrs. Andrews, from 1750. The original work was created to serve as a conversation piece (a term that I will explore later), for guests of the Andrews estate. The double portrait features newlyweds, Robert and Frances Andrews, situated on their land and has become an iconic symbol of European gentry. Thomas Gainsborough was born in 1727 in Sudbury, Suffolk, England. As a boy, he spent hours drawing the land that he was surrounded by.1 As stated by an obituarist, ‘Nature was his teacher and the woods of Suffolk his academy; here he would pass in solitude his moments in making a sketch of an antiquated tree, a marshy brook, a few cattle, a shepherd and his flock, or any other accidental objects that were present.”2 Gainsborough often complained about the pressures of society portraiture, yet it was in doing this particular work that he earned a living. His skills as an artist afforded him the attention of the well-established English gentry, although he came from a modest family. Thomas Gainsborough’s, Mr.
[Show full text]