All GAINSBOROUGH, Thomas 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
6765 Conversation in a Park sd  Conversation in a Park sd   c. 1740 Oil on canvas, 73 x 68 cm Mus??e du Louvre, Paris
6772 Johann Christian Bach sdf  Johann Christian Bach sdf   1776 Oil on canvas Bibliografico Musicale, Museo Civico, Bologna
6775 Johann Christian Fischer dg  Johann Christian Fischer dg   c. 1780 Oil on canvas, 228,6 x 150,5 cm Royal Collection, Windsor
6767 Landscape in Suffolk sdg  Landscape in Suffolk sdg   c. 1750 Oil on canvas, 65 x 95 cm Kunsthistorisches Museum, Vienna
70868 Landschaft in Suffolk  Landschaft in Suffolk   Medium Oil on canvas Dimensions Deutsch: 66 x 95 cm Rahmenmaße: 95 x 124 x 11 cm
6769 Mary, Countess of Howe sd  Mary, Countess of Howe sd   1764 Oil on canvas, 244 x 152,4 cm Iveagh Bequest, Kenwood House, London
6771 Master John Heathcote dfg  Master John Heathcote dfg   1770 Oil on canvas, 127 x 101 cm National Gallery of Art, Washington
6766 Mr and Mrs Andrews dg  Mr and Mrs Andrews dg   1748-49 Oil on canvas, 70 x 119 cm National Gallery, London
6776 Mr and Mrs William Hallett (The Morning Walk)  Mr and Mrs William Hallett (The Morning Walk)   1785 Oil on canvas, 236 x 179 cm National Gallery, London
6774 Mrs Grace Dalrymple Elliot xdg  Mrs Grace Dalrymple Elliot xdg   c. 1778 Oil on canvas, 234,3 x 153,6 cm Metropolitan Museum of Art, New York
6777 Mrs Sarah Siddons dfg  Mrs Sarah Siddons dfg   1785 Oil on canvas, 126 x 99,5 cm National Gallery, London
97199 Patio Mediterraneo  Patio Mediterraneo   circa 1890(1890) Medium oil on canvas Dimensions 45 X 25 cm cyf
70740 Portrat des Heneage Lloyd und seiner Schwester  Portrat des Heneage Lloyd und seiner Schwester   Medium Oil on canvas Dimensions Deutsch: 64 ?? 80 cm
71958 Ritt zum Markt  Ritt zum Markt   Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
72032 Ritt zum Markt  Ritt zum Markt   Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
6770 River Landscape dg  River Landscape dg   1768-70 Oil on canvas, 119 x 168 cm Museum of Art, Philadelphia
6779 Self-Portrait dfhh  Self-Portrait dfhh   1787 Oil on canvas Royal Academy of Arts, London
43944 Six studies of a cat  Six studies of a cat   310 x 447 mm
6768 The Artist s Daughters with a Cat  The Artist s Daughters with a Cat   1759-61 Oil on canvas, 75,6 x 62,9 cm National Gallery, London
43632 The Artist-s Daughters with a Cat  The Artist-s Daughters with a Cat   1759-61 Oil on canvas, 75,6 x 62,9 cm
64316 the blue boy  the blue boy   1779 henry e, huntingdon art gallery, san marino
6778 The Marsham Children rdfg  The Marsham Children rdfg   1787 Oil on canvas, 243 x 182 cm Staatliche Museen, Berlin
97175 The watermill  The watermill   Unknown date Source oil on canvas cyf
70685 Thomas Graham  Thomas Graham   Medium Oil on canvas Dimensions Deutsch: 237 ?? 154 cm
70541 Tochter des Kunstlers  Tochter des Kunstlers   Medium Oil on canvas Dimensions Deutsch: 76 ?? 64,5 cm

English Rococo Era/Romantic Painter, 1727-1788 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's 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.

China Oil Painting Studio Team