Sandro Botticelli's Oil Paintings
	Sandro Botticelli Museum c. 1445 – May 17, 1510. Italian painter.
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Here are all the paintings of Thomas Gainsborough 03

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
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.

All the Sandro Botticelli's Oil Paintings

Supported by oil paintings and picture frames