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 :. | The Harvest Wagon | Oil painting by Thomas Gainsborough of Count Rumford who was an American born soldier, statesman, scientist, inventor and social reformer. | Mrs.Richard Brinsley Sheridan | Self-Portrait | Man in a Wood with a Dog |
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Edwin long,R.A.
1829-1891 .English painter. He was taught by John 'Spanish' Phillip and began his career painting portraits and Spanish subjects, such as Dialogus diversus (1873; priv. col., see Quick, p. 10). However, he became successful and rich with very large historical and biblical subjects such as the Babylonian Marriage Market (1875; Egham, U. London, Royal Holloway & Bedford New Coll.), which changed hands in his lifetime for immense sums. His choice of subject-matter was indebted to the example of Sir Lawrence Alma-Tadema, while his style closely resembles that of Edward Armitage. His success enabled him to commission two houses (1878 and 1887), both in Hampstead, from Richard Norman Shaw. He was elected ARA in 1876 and RA in 1881.
anna cramer
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GIOTTINO (Giotto di Stefano)
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