What's on at Gainsborough's House

Total Page:16

File Type:pdf, Size:1020Kb

What's on at Gainsborough's House Visitor information What’s on at Gainsborough’s House NOVEMBER 2017 – MARCH 2018 OPEN Monday to Saturday 10am–5pm GIRLING STREET Sunday 11am–5pm AST STREET E CLOSED Good Friday and between GREGOR Christmas and the New Year Y ST * WEAVERS ADMISSION (with Gift Aid ) HILLGAINSBOROUGH’S STATUE Adults: £7 DESIGN: TREVOR WILSON DESIGN GAINSBOROUGH’S LANE MARKETKING ST Family: £16 HOUSE CORNARD ROAD Children aged up to 5: free ST BUS Children and students: £2 GAINSBOROUGH STATION STOUR ST STATION ROAD Groups of 10 or more: RIARS ST F £6 per head (booking essential) SUDBURY All admissions, courses and lectures are STATION inclusive of VAT (VAT No. 466111268). Gainsborough’s House is an accredited museum. Charity No. 1170048 and Company Limited by Guarantee No. 10413978. It is supported by Suffolk County Council, Sudbury Town Council, Friends & Patrons of Gainsborough’s House. Gainsborough’s House 46 Gainsborough Street, Sudbury, Suffolk CO10 2EU (entrance in Weavers Lane) Telephone 01787 372958 [email protected] www.gainsborough.org Twitter @GH_Sudbury The House and Garden have wheelchair access and there is a lift to the first floor. * The additional income from Gift Aid does make a big difference but if you prefer not to make this contribution the admission prices are: Adult £6.30, Family £14.50. 1 Gainsborough’s House Gainsborough in Sudbury THOMAS GAINSBOROUGH FRONT COVER: Thomas Gainsborough (1727–88) was born THE ROOMS OF Thomas Gainsborough (1727–88) in Sudbury and was baptised there at the GAINSBOROUGH’S HOUSE ‘The name of Gainsborough will be transmitted THOMAS HIBBERT (1744–1819), Independent Meeting-House in Friars Street to posterity, in the history of art.’ Each of the rooms of the house take a 1785 on 14 May 1727, the fifth son and ninth child Sir Joshua Reynolds theme around the life and art of Thomas Oil on canvas of John and Mary Gainsborough. He lived in Gainsborough; the downstairs focusing on his Thomas Gainsborough is one of the great Private collection Sudbury until around 1740 when, as a young life, the upstairs his art. figures of British and world art history, On display in ‘Creating a National Centre’ man, he was sent to London to pursue a career renowned not only in his advancement of exhibition as an artist. He returned to Sudbury in the spring After an introduction to Gainsborough portraiture to a higher level, but also in being of 1749 where he painted his celebrated Mr at Gainsborough’s House, visitors enter one of the founders of the British school of and Mrs Andrews (c.1750, National Gallery, two rooms downstairs, which explore the landscape painting. As John Constable wrote, London). His search for patronage and critical achievements of the artist and his time in ‘the landscape of Gainsborough is soothing success led him to move to Ipswich around Suffolk. The Hall and stairs are filled with tender and affecting... On looking at them, 1752 and subsequently to Bath and London, portraits of the Gainsborough family and we find tears in our eyes, and know not what although he never lost the influence of his works by Gainsborough Dupont, the great brings them.’ native town and county. ‘Nature was his artist’s nephew apprentice and studio assistant. teacher, and the woods of Suffolk his academy,’ The two rooms upstairs consider in turn noted an obituary after his death in 1788. THE HOUSE AND GARDEN ‘The curs’d face business,’ the portraits of Gainsborough’s House explores the life and art Thomas Gainsborough and ‘Nature was his of Thomas Gainsborough. One of the greatest teacher,’ the landscapes of the artist. artists of his age, he is renowned throughout the Francesco Bartolozzi (1725–1815) after The third floor is given over to a permanent world for his portrait and landscape paintings. Thomas Gainsborough (1727 –88), display of works and memorabilia from the The house, ‘a most excellent Brickt Mansion,’ SELF-PORTRAIT, 1798, Stipple engraving Constable family collection. was bought by John Gainsborough, the artist’s father, in May 1722. Of late medieval origins he remodelled it with the addition of an elegant brick façade shortly after its purchase. The beautiful garden is at the heart of Gainsborough’s House. It is maintained by a devoted body of volunteers who garden exclusively with plants that were available in Gainsborough’s lifetime. The garden is open year round and there is always something of interest for visitors to see. The centrepiece is the venerable mulberry tree reputed to be over 400 years old. Other highlights are the quince tree, a medlar, shrub roses and a small collection of irises and other plants selected by Cedric Morris to continue the artistic themes of the house into the garden. 2 3 EXHIBITION Creating a National Centre for Gainsborough 27 OCTOBER – 4 FEBRUARY 2018 This exhibition explores the creation of a SUSTAINABILITY national centre for Gainsborough in Sudbury. As part of the regeneration of this historic site, A long-held ambition, this project is now a expanded visitor services will be developed, real possibility, with significant investment helping the museum create conditions from the Heritage Lottery Fund and other to ensure that Gainsborough’s House is generous supporters. Featuring the latest plans, safeguarded for many years to come. Among it illustrates the new spaces being created these offers will be a new orangery style Café through pictures and objects, and gives visitors overlooking the garden, a refurbished Print the opportunity to explore our future plans in Studio and flexible performance and meeting more detail. spaces to suit a range of programming needs. REVIVING AN ARTIST’S Audience development and training will also BIRTHPLACE be key, with a strong programme of temporary exhibitions planned across the site to draw Gainsborough’s House is embarking on a visitors from a wide catchment area. major capital project supported by the Heritage Lottery Fund to create a vibrant national REVIVAL centre for Thomas Gainsborough, securing In Sudbury today, the need for regeneration the future of this Grade-I Listed historic house and a place to celebrate the town’s rich cultural and its internationally significant collections. Reviving an Artist’s Birthplace: A National heritage is of critical importance. Sudbury is the birthplace of one of Britain’s greatest Centre for Gainsborough seeks to establish a painters, and has an extraordinary and unique museum that fascinates, inspires, educates and history with the weaving industry. Yet the transforms the House and its collections; creates town has not maximised this significant draw conditions to ensure the museum is preserved, for visitors the world over. A new national shared and celebrated for the next 100 years; centre for Gainsborough would transform and acts as a catalyst for the regeneration of not only the museum, but act as a catalyst for Sudbury, putting Gainsborough’s House on the the regeneration of Sudbury itself, attracting international art museum map. significant levels of tourism and instilling a greater sense of local and regional pride in this MISSION art of national and international significance, unique corner of Suffolk. This project will refurbish, reconfigure and and receive major touring exhibitions, redisplay the historic house and its contents enabling more international partnerships to safeguard the environment, conserve the with significant museums. As part of the collection and improve interpretation. new build there will also be larger spaces The limited space of the house and its current for exhibitions, displays and learning across ARTIST’S IMPRESSION OF ONE use of domestic rooms as gallery spaces four new galleries: a showcase Gainsborough OF THE NEW GALLERIES restricts the ability to fully tell the story of Gallery, a Landscape Studio, a Community Gainsborough and his art. By refurbishing Gallery and a Temporary Exhibition Gallery, and expanding the exhibition space, with the capability to function as a 100-seat AN INSTALLATION VIEW OF Gainsborough’s House will be able to show performance venue. THE EXHIBITION 4 5 EXHIBITION Cedric Morris 10 FEBRUARY – 17 JUNE 2018 In 2017 a significant collection he met his lifelong partner, of over 100 works by the painter Arthur Lett- Cedric Morris, Cedric Morris was gifted to Haines (1894–1978) and in CAFÉ Gainsborough’s House. Works the late 1920s they settled in ROTUNDE in the collection include Suffolk. With the help of John PARIS, landscape and portrait paintings Aldridge, Edward Bawden and 1924, as well as drawings, prints and Eric Ravilious, Cedric founded Oil on canvas even Cedric Morris’s palette. the East Anglian School of Uniquely the works remained Painting and Drawing in part of Cedric Morris’s private Dedham in Essex. Within a collection until his death year of its conception, the art in 1982. Maggi Hambling, school had attracted over 60 who was a student and friend pupils including the painter of Cedric Morris, has been Lucian Freud (1922–2011). instrumental in introducing the Following a devastating fire collection to Gainsborough’s at the Dedham property, the House and in selecting the school moved to Benton End, paintings and drawings for a sixteenth century house this exhibition. and gardens on the outskirts of Hadleigh, Sudbury. Cedric Morris (1889–1982) The school ran for forty years artist and horticulturalist was until the death of Lett-Haines born in Sketty, near Swansea in 1978. and attended the Charterhouse School in Surrey. Following Alongside his work as an a period of time spent in artist, Cedric was a lifelong Canada, Cedric joined the plantsman, who established Royal College of Music to rare species collected overseas. study singing but gave it up He won national acclaim as to pursue a career as an artist. a breeder of irises, some of Although he had no formal which are included in the training in art he attended Gainsborough’s House garden.
Recommended publications
  • Get Book # Benton End Remembered: Cedric Morris, Arthur Lett
    TQOTPZQN4L5T » Doc Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... Benton End Remembered: Cedric Morris, A rth ur Lett-Haines and th e East A nglian Sch ool of Painting and Drawing (Paperback) Filesize: 3.92 MB Reviews It in a of the best publication. It is among the most remarkable publication i have read through. Your lifestyle period will be change once you complete reading this article publication. (Crystal Rolfson) DISCLAIMER | DMCA 5Q6DUZU54SXK > Kindle < Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... BENTON END REMEMBERED: CEDRIC MORRIS, ARTHUR LETT-HAINES AND THE EAST ANGLIAN SCHOOL OF PAINTING AND DRAWING (PAPERBACK) Unicorn Publishing Group, United Kingdom, 2018. Paperback. Condition: New. Language: English . Brand New Book. In 1940, Cedric Morris and Arthur Lett-Haines, both established artists with international reputations who had become disillusioned with the commercial aspects of the art world, moved to Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suolk. What they found there was a somewhat ramshackle but capacious sixteenth-century farmhouse, standing in over three acres of walled gardens lost beneath brambles and elder trees; the house had not been lived in for fieen years. But Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which, in 1937, they had founded together in Dedham, Essex. From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike.
    [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]
  • Simon Carter 2013 Complete.Pdf
    Simon Carter Front cover (detail) Winter Sea, 2011 (catalogue no. 46) Photograph: Noah Carter Noah Photograph: Simon Carter The Shapes of Light 2013 www.messums.com 8 Cork Street, London W1S 3LJ Telephone: +44 (0)20 7437 5545 … how days pass in the studio Today is the 22nd November. It is Thursday and, like most I trace over some of the drawings on the light box, taking a days, I have been down to the beach to make drawings. The degree of expression out of the lines to see how they work as sun was beginning to dissolve amongst a vast Turneresque glow. design. With some paintings I repeatedly copy drawings on the The wind was blowing pale rivers of sand across the beach and light box; I like the way that unexpected outcomes sometimes corrugating the sea, waves coming in small and packed together. arise from the imperfections of this process. I might square up There were a few gulls and a few sanderling at the water’s edge. one of these copies and use it to rework the canvas. This as a On the horizon freight ships were lining up to enter Felixstowe way of forcing change onto the painting and of not allowing a and wind farms flickered in distant sunlight. There was a single sense of satisfaction with it. As the painting develops over the yacht passing. next few weeks and months, I will return to the beach many times. I will also make drawings from the painting and from I made 7 drawings quickly and without much attempt at revision the location drawings; edging forward looking for something or second thought.
    [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]
  • The Generous Ghosts at Benton End, Spiritual Home of Garden
    ald Blythe, who described how, as a shy young man, he was bewitched by the place. Once, 10 years ago, I stopped by the roadside to famous peer over the wall but the haven friend I was with called: Benton End in “There’s nothing there. Just Suffolk; Cedric the walls”. It was not until re- Morris’s Flowers cently that I realised how in Feering, right wrong he was. For this spring, the ghost of Morris’s garden stirred back to life, thanks to a gardener hired by the Pinchbecks to cut back the undergrowth: on the last day before lockdown, Corydalis bul- bosa ‘Alba’ was revealed under the medlar tree, also the widow iris that Morris loved to paint, and double- headed Fritillaria pyrenaica. Morris and Lett-Haines acquired the house in 1940 and ran it as the East An- glian School of Painting and Drawing – an art school famous for its links with the young Lucian Freud and Maggi Hambling. It was also a social hub: in the kitchen, Lett-Haines’ cousin, the food writer Elizabeth David, could be found at the stove, childrens’ author Kathleen Hale handed around platters – and, yes, the marmalade cat of her sto- ries looked on – while Lett-Haines mixed martinis and told stories of tiffs with Hemingway in 1920s Paris. To Blythe, then a shy young librar- ian, the atmosphere was “out of this world so far as I had previously tasted it. The generous ghosts at Rough and ready and fine mannered. Also faintly dangerous.” The sloping garden combined Mor- ris’s artist-bred irises with perhaps the most interesting collection of plants in post-war Britain.
    [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]
  • Unconventionality in Thomas Gainsborough's Portrait Of
    UNCONVENTIONALITY IN THOMAS GAINSBOROUGH’S PORTRAIT OF HENRY SCOTT: RETHINKING THE REPRESENTATION OF DOGS AS RATIONAL SUBJECTS IN EIGHTEENTH-CENTURY BRITISH PORTRAITURE A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts in Interdisciplinary Studies University of Regina By Luba Stephania Kozak Regina, Saskatchewan April 2019 © 2019: Luba Stephania Kozak UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Luba Stephania Kozak, candidate for the degree of Master of Arts in Interdisciplinary Studies, has presented a thesis titled, Unconventionality in Thomas Gainsborough’s Portrait of Henry Scott: Rethinking The Representation of Dogs as Rational Subjects in Eighteenth-Century British Portraiture, in an oral examination held on April 25, 2019. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: *Dr. Lianne McTavish, University of Alberta Co-Supervisor: Dr. Randal Rogers, Department of Visual Arts Co-Supervisor: Dr. Francesco Freddolini, Department of Visual Arts Committee Member: Dr. Darlene Juschka, Department of Religious Studies Committee Member: Dr. Sherry Farrell-Racette, Visual Arts Chair of Defense: Dr. Philip Charrier, Department of History *via Video Conferencing Abstract This thesis reconsiders the perception and status of pets in eighteenth-century Britain through an analysis of the unconventional modes of representation in Thomas Gainsborough’s portrait of Henry Scott, Third Duke of Buccleuch. By examining the social attitudes towards pets in eighteenth-century Britain, this thesis discusses the elevated status of dogs in Britain’s early modern visual culture, which offers new possibilities for understanding the complex and sympathetic relationship between owners and their pets.
    [Show full text]