Toutes peintures à l'huile d'Thomas Gainsborough

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Painting(From A to Z)

Details

33814

Robert Andrews and his Wife Frances

mk86 c.1750 Oil on canvas 69.8x119.5cm London,National Gallery

21934

Robert Andrews and his Wife Frances (mk08)

c.1750 Oil on canvas 69.8x119.5cm London,National Gallery

28736

Robert Butcher of Walthamstan

mk61 Oil on canvas 75x62cm

84411

Saintes

1783(1783) Medium Oil on canvas Dimensions 71 x 40 cm (28 x 15.7 in) cyf

44572

Sarah Siddons

mk173 1785 Oil on canvas 125.7x100.3cm

78959

Sarah Siddons

1785(1785) Medium Oil on canvas Dimensions 126 x 100 cm (49.6 x 39.4 in) cyf

38190

Sarah,Lady innes

mk29 c.1757 Oil on canvas 101.6x72.7cm

89199

Seashore with Fishermen

1781-1782 Medium oil on canvas cjr

78819

Self portrait

1787(1787) Medium Oil on canvas Dimensions 73.5 x 58.5 cm (28.9 x 23 in) cyf

79011

Self portrait

1754(1754) Medium Oil on canvas Dimensions 58 x 49 cm (22.8 x 19.3 in) cyf

81390

Self portrait

1758-1759 Medium Oil on canvas Dimensions 76.2 x 63.5 cm (30 x 25 in) cyf

1316

Self Portrait ss

1787 Royal Academy of Arts, London

26932

Self-Portrait

mk52 C.1759 Oil on canvas 76.2x63.5cm Natinal Portrait Gallery,London

29553

Self-Portrait

1787 Oil on canvas

40621

Self-Portrait

mk156 1790 Oil on canvas 100x81cm

40894

Self-portrait

mk156 c.1754

40934

Self-portrait

mk158 1754

40959

Self-Portrait

mk158 c.1759

58908

Self-Portrait

Self-Portrait (1754)

77174

Self-portrait

1754(1754) Oil on canvas 58 ?? 49 cm (22.8 ?? 19.3 in) cjr

40908

Self-portrait with and Daughter

mk158 c.1748

98104

Sir Benjamin Thompson

Dimensions: 75.25 cm. x 62.55 cm. actual cyf

40917

St Mary-s Church

mk158 Hadleigh Suffolk 1747-48

40910

Study for a Foreground,a Bank with Weeds and Thistles

mk158 c.1750

39726

Suffolk landscape

mk150 c.1750 Canvas 66x95cm

76733

Suffolk Landscape

Suffolk Landscape, mid-1750s oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum. cjr

80228

Suffolk Landscape

oil on canvas painting by Thomas Gainsborough, Kimbell Art Museum Date mid-1750s cyf

58898

Sunset

Sunset (1760)

58905

The Artist Daughters, Molly and Peggy

The Artist`s Daughters, Molly and Peggy (1760)

51017

The Artist-s Daughters with a Cat

1759-61 Oil on canvas, 75,6 x 62,9 cm

56138

the blue boy

mk247 1770,oil on canvas,70x48 in,178x122 cm,huntington art collections,san marino,ca,usa

58892

The Blue Boy

The Blue Boy (1770). The Huntington, California.

40918

The Charterhouse,

mk158 London November 1748

40921

The Fallen Tree

mk158 c.1750-53

1304

The Harvest Wagon

1767 Barber Institute of Fine Arts, Birmingham

50852

The Harvest wagon

mk216

52715

The Harvest Wagon

mk223 Oil on canvas

56578

the harvest wagon

mk248 gainsborougb, som enbart verkade i sin atelje, ardetade ofta mot en malad landskapspsfond, upplyst av levande ljud.han kom att upppskarra rubens ocb den nederlandske madtarens influenser marks bar i de flytande liytande linjerna ocb korsnedtagningen.

31817

The hon.frances duncombe

mk76 Painted c.1777 Oil on canvas 92 1/4x61 1/8in

1308

The Honorable Mrs Graham

1775-77 National Gallery of Scotland, Edinburgh

52721

The Honourable

mk223 Mrs Graham Mrs Graham was one of the many society beauties Gainsborough painted in order to make a living,although he preferred painting landscapes

50859

The Honourable mas graham mars Graham was one of the many society beauties Gainsborough painted in order to make a living

mk216

40916

The Idle-Prentice at Play in the Church Yard during Divine Service

mk158 1747

40962

The Lady-s Last Stake

mk158 1759

43295

The Maket Cart

mk170 1786 Oil on canvas 184.2x153cm

31818

The mall in St.James's Park

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

38231

The Mall in St.James-s Park

mk29 c.1783 Oil on canvas

78936

The Marsham Children

1787(1787) Medium Oil on canvas Dimensions 243 x 182 cm (95.7 x 71.7 in) cyf

33816

The Morning Walk

mk86 c.1785/86 Oil on canvas 263.3x179.1cm London,Nationa Gallery

21936

The Morning Walk (mk08)

c.1785/86 Oil on canvas 263.3x179.1cm London,National Gallery

58895

The Painter Daughters Chasing a Butterfly

The Painter`s Daughters Chasing a Butterfly

1306

The Painter's Daughters Chasing a Butterfly

1755-56 National Gallery, London

40942

The Painter-s Daughters chasing a Butterfly

mk158 c.1756

40953

The Shepherd Boy

mk158 c.1757-59

40935

The Suffolk Plough

m158 c.1754

44601

The three Eldest Princesses

mk173 1784 Oil on canvas 129.5x179.7cm

33815

The Watering Place

mk86 1777 Oil on canvas 147.3x180.3cm London,National Gallery

21935

The Watering Place (mk08)

1777 Oil on canvas. 147.3x180.3cm London,National Gallery

79080

Thomas Graham

1777(1777) Medium Oil on canvas Dimensions 237 x 154 cm (93.3 x 60.6 in) cyf

58903

Two Daughters with a Cat

Two Daughters with a Cat (c. 1759)

92659

View in Suffolk

c. 1755 Medium oil on canvas Dimensions 37 3/4 x 49 3/8 in. (95.9 x 125.4 cm) cjr

33817

Woman in Blue

mk86 before 1780 Oil on canvas 76x64cm St Petersburg,Hermitage

77571

Woman in Blue

Oil on canvas 76 ?? 64 cm (29.9 ?? 25.2 in) cjr

79528

Woman in Blue

Oil on canvas 76 x 64 cm (29.9 x 25.2 in) Late 1770s - early 1780s cjr

79602

Woman in Blue

Oil on canvas Late 1770s - early 1780s 76 x 64 cm (29.9 x 25.2 in) cjr

21937

Woman in Blue (mk08)

1780 Oil on canvas 76x64cm St Petersburg,Hermitage

1319

Wooded Landscape with Mounted Drover

1780

40904

Wooded Landscape with River

mk158 mid 1740s

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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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