BIBLIOGRAPHY Armstrong , Sir Walter , Thomas Gainsborough . William
Heinemann , London . Charles Scribner ' s Sons , New York , 1898 . Bell , Mrs .
Arthur , Thomas Gainsborough . G . Bell and Sons , London , 1897 . Bolton ,
William B .
Author: Elizabeth Ripley
Tells of Gainsborough's life in London, his move to the country, his marriage to Margaret Burr and his friendship with wealthy Philip Thicknesse, who recognized his talent and made him a popular painter. A painting faces each page of text.
Thomas Gainsborough, Rica Jones Michael Rosenthal, Martin Myrone. Selected
Bibliography This is not intended to be a comprehensive bibliography of writings
on Gainsborough , but rather a selection of both standard works of reference ...
Author: Thomas Gainsborough
Publisher: Harry N Abrams Incorporated
Also explored are his precocious early works, his subtle approach to the lucrative world of fashionable portraiture, the often pointed social commentary behind his seductive landscapes, and the exploratory nature of the last works."--BOOK JACKET.
also reports of Gainsborough adding staffage to other Dutch landscape paintings
that passed through the London art market at the time . ' Constable shared this
admiration for Ruisdael's work . His house in Keppel Street , where he lived from
Publisher: Boydell & Brewer
This is the catalogue to the exhibition held in summer 1991 at Gainsborough House, Sudbury, focusing on Constable and the artists whose work was important to him in his formative years - Gainsborough, Wilson, Beaumont and Farington. This exhibition complements the 1991 Tate Gallery exhibition which omits Constable's early work.
Hayes , John : Gainsborough : Paintings and Drawings , 1975 . Hayes , John : Gainsborough ( exhibition catalogue , The Tate Gallery , London ) , 1980–81 .
Hayes , John : Gainsborough ( exhibition catalogue , Grand Palais , Paris ) , 1981
Gainsborough's handling carries a ' powerful impression of nature ' because it is
based on the art of seeing The idea that Gainsborough's mature portraits and
landscapes can be both highly artificial in handling and yet convincing copies of
Author: Amal Asfour
Publisher: Liverpool University Press
Thomas Gainsborough, one of the most popular British painters, has been celebrated as a landscapist, a portrait painter, and a man of feeling whose impetuous character is revealed in his art, life and letters. This book reveals that the style, themes and ideas of Gainsborough’s paintings constitute purposeful expressions of an intellectual and visual culture whose importance in the development of eighteenth-century British art has gone unrecognized. "Amal Asfour and Paul Williamson have set out to make us look more knowledgeably at the paintings of Gainsborough... their treatment is richly informative."—George Steiner, The Observer "Asfour and Williamson display a profound knowledge of 18th-century aesthetics... a highly stimulating book."—The British Art Journal
NATURE WAS HIS TEACHER ' In the spring of 1788 , a landscape that Thomas Gainsborough had painted some forty years earlier was auctioned in London for
seventy - five guineas . This picture , entitled Cornard Wood , now belongs to the
Author: Martin Postle
Category: Portrait painting, British
Martin Postle reassesses Gainsborough's attitudes towards the central aspects of his art: landscape and portraiture. This book also examines the impact upon his career of the Royal Academy and the Court of St James's.
MAGES of Gainsborough permeate our lives . We unconsciously see his most
famous images mediated through our experience of advertisements , postcards ,
books , prints , recorded music packaging , figurines , table mats , china and so
Author: Hugh Belsey
Publisher: Paul Holberton Pub
The work of the English artist Thomas Gainsborough (1727-1788) lives on not only in museums and stately homes but in reproductions and reflections of all kinds--ceramics, cigarette cards, biscuit tins, fans, hats, films, and cartoons. These incidental objects and ephemera are part of the history of Gainsborough's art and influence. Naturally, his most iconic works feature strongly--The Blue Boy or The Duchess of Devonshire (once the most expensive picture in the world, dramatically stolen and finally recovered by Pinkerton's detective agency). Told for the first time in this book, this is an important episode in the history of English and American taste. This little book is a timely publication to accompany the international Gainsborough retrospective opening in Washington and Boston in 2003. Hugh Belsey is curator at Gainsborough's House in the artist's home town of Sudbury, Suffolk. Christopher Wren is a collectables expert.
Upon his commission Gainsborough painted what was probably his first
important landscape ; it was a view of Landguard Fort , with figures and sheep in
the foreground , and the sea , with the estuary of the Stour , in the distance . This
23 Fulcher says that at Richmond Gainsborough spent ' mornings and evenings
in sketching its picturesque scenery . When on his walks he saw any peasant
children that struck his fancy , he would send them to his painting - room , leaving
BIBLIOGRAPHY 5 Thicknesse , Philip , A Sketch of the Life and Paintings of
Thomas Gainsborough , Esq . Printed at author ' s expense and rushed out
hastily after Gainsborough ' s death . Interesting historically as the first biography .
54 Thomas Gainsborough , Margaret Gainsborough gleaning ( fragment ) , C .
1758 . sale was the portrait of the Painter ' s Daughters chasing a Butterfly ( fig .
44 ) which was bought or given to the Reverend Robert Hingeston , the Master of
Author: Hugh Belsey
Publisher: Prestel Pub
This new study on Thomas Gainsborough concentrates on the early life and works of the great eighteenth-century artist. Gainsborough's talent was evident at a young age, and before he established himself as one of London's leading portrait artists he was able to indulge himself in his true passion, landscapes, as well as providing portraits for a provincial clientele. Graced with the light and gentle shadows of the English countryside, these early works provided the foundation for much of Gainsborough's later work. But many of them, including the renowned Mr. and Mrs. Andrews, and His Daughters Chasing a Butterfly, can be called masterpieces in their own right. It was in Suffolk that the artist developed a naturalistic approach to portraiture by abandoning "conversation pieces" and painting instead a number of straightforward head-and-shoulder portraits. This lively and accessible volume features eighty color and black-and-white reproductions of Gainsborough's paintings, etchings, and drawings. They not only shed light on the development of one of England's most revered painters, but also offer an intimate look at the work of a young painter in the thrall of his subjects, and just beginning to realize his full talents.
workmanship and mellifluous tone ' and was much coveted by Gainsborough
who ' more than once said to me he would give an hundred guineas for it : I
persuaded her to give it to him : & she did upon condition he painted my picture
at full ...
Gainsborough moved to London in 1774 . Thenceforth until his death he was
universally recognized as sharing with Sir Joshua Reynolds the position of
foremost British portraitist of his day . Reynolds and Gainsborough were
G.H.R. ( ii ) The Eastern Part of the District A tentative correlation of the measures
between the Low Silkstone Coal and the Clay Cross Marine Band is shown on
Plate V. Gainsborough No. 1 Oil Bore was cored ( see pp . 265–6 ) from just ...
Author: E. G. Smith
A detailed account of the geology shown on the complementary 1: 50 000 (or earlier 1: 63 360) geological map(s)
The Growth of Gainsborough in the Eighteenth Century The Court Leet Jury Book
began , from the mid - seventeenth century , to record property transactions
involving persons owing suit of court in the manor of Gainsborough . It seems
Author: Gainsborough Commission of British WorkmenPublish On: 1907
Gainsborough Commission of British Workmen John Laidlay Bashford. English
lbs . should cost 4fd . The Gainsborough . quartern loaf costs 4 d . , so that the
difference in price is hardly perceptable . Where then does the extreme pressure
Author: Gainsborough Commission of British Workmen
Exhibited at the Galleries of Messrs. Duveen Brothers, New York, in Aid of the
Funds of the Fifth Avenue Hospital, February, 1922 Thomas Gainsborough. 1 (
MASTER JONATHAN BUTTALL ) BY W “ Mona Lisa , ” no picture in the world has
Gainsborough's easy relationship with St Quintin is self-evident. With other sitters
his relationship varies: the gallant serving officer Townsend attracts Gainsborough's brisk and accommodating manner; David Garrick induces his
frankness; the ...
Author: James Hamilton
Publisher: Hachette UK
Category: Biography & Autobiography
** Selected as a Book of the Year in The Times, Sunday Times and Observer ** 'Compulsively readable - the pages seem to turn themselves' John Carey, Sunday Times 'Brings one of the very greatest [artists] vividly to life' Literary Review Thomas Gainsborough (1727-88) lived as if electricity shot through his sinews and crackled at his finger ends. He was a gentle and empathetic family man, but had a shockingly loose, libidinous manner and a volatility that could lead him to slash his paintings. James Hamilton reveals the artist in his many contexts: the talented Suffolk lad, transported to the heights of fashion; the rake-on-the-make in London, learning his craft in the shadow of Hogarth; the society-portrait painter in Bath and London who earned huge sums by charming the right people into his studio. With fresh insights into original sources, Gainsborough: A Portrait transforms our understanding of this fascinating man, and enlightens the century that bore him.