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.  Related Paintings of Thomas Gainsborough :. | Self-portrait | Mrs Philip Thicknesse | Lady Alston (mk05) | Mr and Mrs. Andrews | The Maket Cart |
Related Artists:
Pieter Lastman
(1583 - 4 April 1633 (buried)) was a Dutch painter . Lastman is considered important because of his work as a painter of history pieces and because his pupils included Rembrandt and Jan Lievens. In his paintings Lastman paid a lot of attention to the faces, hands and feet. Pieter Lastman was born in Amsterdam, the son of a town-beadle, who was dismissed in 1578 for being a Catholic. His mother was an appraiser of paintings and goods. His apprenticeship was with Gerrit Sweelinck, the brother of Jan Pieterszoon Sweelinck. Between approximately 1604 and 1607 Lastman was in Italy, where he was influenced by Caravaggio (as were the painters of the Utrecht School a few years later) and by Adam Elsheimer. Back in Amsterdam he moved in with his mother in the Sint Antoniesbreestraat, living next to mayor Geurt van Beuningen. Lastman never married although he promised to marry the sister of Gerbrand Adriaensz Bredero. Because of his health Lastman moved in with his brother in 1632. He died the next year and was buried in the Oude Kerk.
Bernardo Zenale
Italian Painter , ca.1436-1526
Master of ST Ildefonso
Castile,end of the fifteenth century Spanish painter. He is named from St Ildefonso's Reception of a Chasuble from the Virgin Mary (Paris, Louvre), which is traditionally held to come from Valladolid; it may even have come from the chapel of S Ildefonso in the Colegiata there. The style, characterized by harmony of colour and intense expressions, resembles that of four panels of St Athanasius, St Louis of Toulouse, both enthroned, SS Peter and Paul and SS Andrew and James the Great, which probably came from the convent of La Merced, Valladolid. They have been attributed to the Master of vila, but Post considered them to be the work of the Master of St Ildefonso, a more sophisticated painter, although both artists modified the harshness of their Netherlandish models. There are also similarities with Jacomart's triptych of St Anne in the Colegiata, Jetiva, but these may be coincidental. Other works attributed to the Master include St Anne and St Anthony of Padua,