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All Thomas Gainsborough Oil Paintings


 
 
Thomas Gainsborough the blue boy oil painting reproduction


the blue boy
mk247 1770,oil on canvas,70x48 in,178x122 cm,huntington art collections,san marino,ca,usa
new20/Thomas Gainsborough-746433.jpgPainting ID::  56138
 

 

 
   
      

All Thomas Gainsborough Oil Paintings


 
 
Thomas Gainsborough The Blue Boy oil painting reproduction


The Blue Boy
The Blue Boy (1770). The Huntington, California.
new20/Thomas Gainsborough-932526.jpgPainting ID::  58892
 

 

 
   
      

All GAINSBOROUGH, Thomas Oil Paintings


 
 
GAINSBOROUGH, Thomas the blue boy oil painting reproduction


the blue boy
1779 henry e, huntingdon art gallery, san marino
new22/GAINSBOROUGH, Thomas-722378.jpgPainting ID::  64316
 

 

 
   
      

GAINSBOROUGH, Thomas
  
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.
the blue boy
1779 henry e, huntingdon art gallery, san marino

Related Paintings to GAINSBOROUGH, Thomas :.
| Euphemia (Effie) Chalmers (nee Gray), Lady Millais by Thomas Richmond | Willem van de Velde the Younger - A Yacht and Other Vessels in a Calm | Carlo Crivelli - La Madonna della Rondine (The Madonna of the Swallow) | Jean-Baptiste Oudry -- The Burlesque Comedy | Oliver Cromwell by Robert Walker | | Sunflowers | St Ambrose | ariadne abandoned by theseus on naxos | Pastoral Landscape (mk17) | Landscape under the sun |


        

 

 

 

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