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.   Related Paintings of GAINSBOROUGH, Thomas :. | Johann Christian Bach sdf | River Landscape dg | Tochter des Kunstlers | Mrs Sarah Siddons dfg | Ritt zum Markt |
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John Boyne
British 1750-1810
Edmund Tull
(1870 - 1911) was a Hungarian artist born at Szekesfeherver. He was educated at Budapest, Milan, and Paris, being in the last-named city a pupil of J. P. Laurens and of B. Constant. His first work, "The Cathedral of Notre Dame," attracted attention at the exposition in Budapest in 1896, while his etchings are especially valued in London and Vienna. His best-known works are: "Peasant Mowing," "A Lane in Dort," and "The Island of Capri," in the historical art museum of Budapest; and "The Smithy," owned by Archduchess Isabella.
Lambert Jacobsz
1598-1636 Dutch Lambert Jacobsz Gallery Dutch painter. He was the son of a well-to-do Mennonite cloth merchant in Amsterdam. He served his apprenticeship there among the artists now called the Pre-Rembrandtists. After his marriage in 1620, commemorated by the poet Joost van den Vondel (1587-1639), he settled in Leeuwarden, his wife's native city, where he became a preacher in the Mennonite community and worked primarily as a painter. He was also active as an art dealer, as is known from his estate inventory, which records transactions in Amsterdam with the Mennonite art dealer and patron of Rembrandt, Hendrick van Uylenburgh. Two of Jacobsz.'s pupils were Govaert Flinck and Jacob Backer. His son, the painter ABRAHAM VAN DEN TEMPEL probably also studied with him before becoming Backer's pupil c. 1642-6.