Thread: Thomas Gainsborough (1727-88) was one of England’s greatest painters as well as a populariser of the art of landscape. He was a character in every sense. Here is a picture of his beloved daughters. He was a genius - let’s see why! Today is his birthday 
Gainsborough was born in Suffolk & it’s gentle landscape informs many of his pictures. He left to study in London in 1740, where he was influenced by the French Rococo & Hogarth. Here’s a Self-portrait of that time, a Couple (c1740) & an early set of studies of a head (c1737)
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At an early stage Gainsborough’s interests were apparent. First, joy in friendship with performers (actor David Garrick, 1742), then love of landscape (c1744) & his effort to place portraits within a landscape (c1744). Although ungainly, his early work shows a Rococo influence
In 1746 Tom made a great match & married Margaret, the daughter of a duke. She brought some stability to a man who liked to have fun & gave him 2 daughters. Here’s an early masterpiece of Mr & Mrs Andrews (1748-9), the Dutch inspired Cornard Wood (1746-7) & his family (c1748)
By 1752 the Gainsboroughs were in Ipswich. Portraits & money troubles (driven by his love of the good life) were a theme. He sought to place his portraits in sylvan surrounds. The Gravenor Family (1752-4), John Plampin (1753-5) & the Lloyds (1755)
Gainsborough’s greatest portraits from the 1750s are of his family. Miss Gainsborough Gleaning (1756-9), the Painter’s Daughters (1758) & the Artist’s Wife (c1758) attest to his growing maturity as a portraitist, as well as his love for his family
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In 1759 the family moved to fashionable Bath to gain more lucrative sitters. He took time to study Van Dyck & the results were magnificent. Countless of Howe (1764), Lord Vernon (1767) & the famous Blue Boy (1770). The latter was his successful challenge to Van Dyck
Gainsborough was v much interested in music & this is shown in his portraits of William Wollaston (1758-9) & Ann Ford (1760). Here too is a self-portrait from 1758-9. Where he differs from his contemporaries is in the psychological life of his sitters & their authenticity
Gainsborough’s first love was always landscape painting & he snook it into his portraits where he could. Peasants Returning from Market (1767-8) & the Harvest Wagon (1767). He continued to study & learn from Old Masters such as Rubens’ Descent from the Cross (1760s)
From 1761 the artist would send works to London for exhibit & in 1769 he co-founded the Royal Academy. He moved there in 1774. Here’s his Lady Ligonier (1770), his daughter Margaret (1772) & the Linley Sisters (1772). As an artist he loved female company.
As the artist matured his brushwork became more fluid & he used longer brushes which gave his work a sense of movement. His portraits of the Duchess of Beaufort (c1775), Mrs Graham (c1775) & of his nephew & assistant Gainsborough DuPont (c1775) are ravishing masterpieces
His pictures from the 1770s show Gainsborough’s enjoyment of painting friends (Carl F Abel) & beautiful women (Mrs Lowndes-Stone & Miss Read). He was less interested if the sitter was a random man & not a buddy like Abel.
The 1770s were a period of intense genius for the artist. He sought to place the sitters in Van Dyck swagger, integrate them into a landscape & include dogs (if he could). Here is his lovely portrait of his wife & one of Ms Duncombe as well as Pomeranian Dogs
As a foil to his society portraits he began his Cottage series where, influenced by Murillo, he sought to raise the stature of what he saw as honest peasant life. Cottage Girl (1785), Girl with Pigs (1782) & Cottage Door (1780s). The Cottage Girl is his masterpiece in
@NGIreland
@NGIreland
Gainsborough achieved great fame & was the Royal Family’s favourite painter. Here his Duke & Duchess of Cumberland (1783-5), Queen Charlotte (1782) & Princess Elizabeth (1780s). He fell out with the RA & exhibited on his own (Irishman Nathaniel Hone had done so, too)
He remained as creative as ever in his final decade & continued his lifelong method of integrating landscape & people. Diana & Actaeon (c1785) & The Mall (1783) are late masterpieces of this time. Gainsborough’s drawings show his care in forming such joyous compositions
In his final years Gainsborough created some of the most elegant English portraits of the 18th C. His Morning Walk (1785), Mrs Sheridan (1785-6) & Duke of Kent (c1787) are supreme examples of an artist who understood beauty & human frailty
He lived for wine, women & song. He & his buddy James Quinn (Irish actor) drunk, returning from a brothel, fell into a sewer. The artist made to get out. Quinn stilled him, glanced at his watch & told him to wait as the watchman would be along to pull them out soon!
Gainsborough loved landscapes & claimed at one stage if he had another portrait order he’d cut his throat with his palette knife! He even made models of ideal landscapes with moss & twigs, to paint. His visions of a sylvan & placid England remain enchanting
Here’s more on my May offer. Two original drawings for just €50/£45. Take a look!
