Gustav Klimt
Gustav Klimt's Oil Paintings
Gustav Klimt Museum
1862 – 1918, An Austrian Symbolist Painter.

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Here are all the paintings of GAINSBOROUGH, Thomas 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
6765 Conversation in a Park sd GAINSBOROUGH, Thomas Conversation in a Park sd c. 1740 Oil on canvas, 73 x 68 cm Mus??e du Louvre, Paris
6772 Johann Christian Bach sdf GAINSBOROUGH, Thomas Johann Christian Bach sdf 1776 Oil on canvas Bibliografico Musicale, Museo Civico, Bologna
6775 Johann Christian Fischer dg GAINSBOROUGH, Thomas Johann Christian Fischer dg c. 1780 Oil on canvas, 228,6 x 150,5 cm Royal Collection, Windsor
6767 Landscape in Suffolk sdg GAINSBOROUGH, Thomas Landscape in Suffolk sdg c. 1750 Oil on canvas, 65 x 95 cm Kunsthistorisches Museum, Vienna
70868 Landschaft in Suffolk GAINSBOROUGH, Thomas Landschaft in Suffolk Medium Oil on canvas Dimensions Deutsch: 66 x 95 cm Rahmenmaße: 95 x 124 x 11 cm
6769 Mary, Countess of Howe sd GAINSBOROUGH, Thomas Mary, Countess of Howe sd 1764 Oil on canvas, 244 x 152,4 cm Iveagh Bequest, Kenwood House, London
6771 Master John Heathcote dfg GAINSBOROUGH, Thomas Master John Heathcote dfg 1770 Oil on canvas, 127 x 101 cm National Gallery of Art, Washington
6766 Mr and Mrs Andrews dg GAINSBOROUGH, Thomas Mr and Mrs Andrews dg 1748-49 Oil on canvas, 70 x 119 cm National Gallery, London
6776 Mr and Mrs William Hallett (The Morning Walk) GAINSBOROUGH, Thomas Mr and Mrs William Hallett (The Morning Walk) 1785 Oil on canvas, 236 x 179 cm National Gallery, London
6774 Mrs Grace Dalrymple Elliot xdg GAINSBOROUGH, Thomas Mrs Grace Dalrymple Elliot xdg c. 1778 Oil on canvas, 234,3 x 153,6 cm Metropolitan Museum of Art, New York
6777 Mrs Sarah Siddons dfg GAINSBOROUGH, Thomas Mrs Sarah Siddons dfg 1785 Oil on canvas, 126 x 99,5 cm National Gallery, London
97199 Patio Mediterraneo GAINSBOROUGH, Thomas Patio Mediterraneo circa 1890(1890) Medium oil on canvas Dimensions 45 X 25 cm cyf
70740 Portrat des Heneage Lloyd und seiner Schwester GAINSBOROUGH, Thomas Portrat des Heneage Lloyd und seiner Schwester Medium Oil on canvas Dimensions Deutsch: 64 ?? 80 cm
71958 Ritt zum Markt GAINSBOROUGH, Thomas Ritt zum Markt Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
72032 Ritt zum Markt GAINSBOROUGH, Thomas Ritt zum Markt Date Deutsch: um 1769 English: c. 1769 Dimensions Deutsch: 122 X 147 cm
6770 River Landscape dg GAINSBOROUGH, Thomas River Landscape dg 1768-70 Oil on canvas, 119 x 168 cm Museum of Art, Philadelphia
6779 Self-Portrait dfhh GAINSBOROUGH, Thomas Self-Portrait dfhh 1787 Oil on canvas Royal Academy of Arts, London
43944 Six studies of a cat GAINSBOROUGH, Thomas Six studies of a cat 310 x 447 mm
6768 The Artist s Daughters with a Cat GAINSBOROUGH, Thomas The Artist s Daughters with a Cat 1759-61 Oil on canvas, 75,6 x 62,9 cm National Gallery, London
43632 The Artist-s Daughters with a Cat GAINSBOROUGH, Thomas The Artist-s Daughters with a Cat 1759-61 Oil on canvas, 75,6 x 62,9 cm
64316 the blue boy GAINSBOROUGH, Thomas the blue boy 1779 henry e, huntingdon art gallery, san marino
6778 The Marsham Children rdfg GAINSBOROUGH, Thomas The Marsham Children rdfg 1787 Oil on canvas, 243 x 182 cm Staatliche Museen, Berlin
97175 The watermill GAINSBOROUGH, Thomas The watermill Unknown date Source oil on canvas cyf
70685 Thomas Graham GAINSBOROUGH, Thomas Thomas Graham Medium Oil on canvas Dimensions Deutsch: 237 ?? 154 cm
70541 Tochter des Kunstlers GAINSBOROUGH, Thomas Tochter des Kunstlers Medium Oil on canvas Dimensions Deutsch: 76 ?? 64,5 cm

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.
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