Thomas Gainsborough: The Portraits, Fancy Pictures and Copies after Old Masters Vol. 1 (Hugh Belsey)

Автор: Hugh Belsey and Susan Sloman
Название: Gainsborough and the theatre (Hugh Belsey) [Hugh Belsey] // Гейнсборо и театр (Хью Белси) [Хью Белси]
ISBN: 1781300666 ISBN-13(EAN): 9781781300664
Издательство: Bloomsbury Academic
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Цена: 14790.00 T
Наличие на складе: Невозможна поставка.
Описание: Based on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727-88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quin, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists, dancers and composers. This publication firmly establishes the artist's place within the theatrical worlds of Bath and London and shows why the art of ballet, and in particular Gainsborough's sitters, rose to prominence in 1780 and examines parallels between Gainsborough's much admired painterly naturalism and the theatrical naturalism of Garrick and Siddons with whom he had personal friendships.

Автор: Gainsborough Thomas
Название: Gainsborough`s Family Album
ISBN: 1855147904 ISBN-13(EAN): 9781855147904
Издательство: Thames & Hudson
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Цена: 32950.00 T
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Описание:

"I am sick of Portraits and wish very much to take up my Viol da Gamba and walk off to some sweet village when I can paint Landskips and enjoy the fag end of life in quietness and ease." Despite this famous protestation in a letter to his friend William Jackson, Thomas Gainsborough (1727-88) was clearly prepared to make an exception when it came to making portraits of his own family and himself. This book features over 50 portraits of himself, his wife, his daughters, other close relatives and his beloved dogs, Tristram and Fox.

Spanning more than four decades, Gainsborough's family portraits chart the period from the mid-1740s, when he plied his trade in his native Suffolk, to his most successful latter years at his luxuriously appointed studio in London's West End. Alongside this story of a provincial 18th-century artist's rise to fame and fortune runs a more private narrative, about the role of portraiture in the promotion of family values, at a time when these were assuming a recognizably modern form.

In the first of three introductory essays, David H. Solkin writes on Gainsborough himself, placing his family portraits in the context of earlier practice. Ann Bermingham explores Gainsborough's portraits of his daughters, with particular reference to two finished double portraits painted seven years apart and the tragic story arising from them. Susan Sloman discusses Margaret's role as her husband's business manager, its effect on the family dynamic and hence the visual representation of its members.