Thomas Gainsborough영국, 1727–1788The Hon. Mrs. Thomas Graham
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〈The Hon. Mrs. Thomas Graham〉는 지금 어디에 있나요? 내셔널 갤러리 오브 아트, 전시실 58 · 서관, 본층, 워싱턴 D.C. 네, 현재 전시 중입니다. 확인일 2026년 11월 2일.
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그림 소개
Thomas Gainsborough painted The Hon. Mrs. Thomas Graham around 1775–1777 for her husband; the portrait is now at Washington's National Gallery of Art. Pearls wind through her high-piled hair, and a long curl falls over one shoulder. Her wrists cross at the waist as she gathers fabric from her dress. Green trees frame the blue sky behind her. The canvas is displayed in M-058.
상세 정보
- 소장품 번호
- 1942.9.21
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출처
- 내셔널 갤러리 오브 아트
- 이미지: 내셔널 갤러리 오브 아트 — Museum open access
Thomas Gainsborough의 생애 속 이 작품
생애 전체 보기1759–1774
Bath: Van Dyck and Rubens in the houses of the local aristocracy
Of great importance to Gainsborough is his acquaintance with paintings by Anthony van Dyck and Peter Paul Rubens owned by local aristocrats; he copies some of them. The study of the old masters is linked to the appearance in his landscapes of luminous distances that he had not been able to achieve before.
1773
Stops exhibiting at the Academy
From 1769 Gainsborough submits works to the Royal Academy's annual exhibitions, but his relationship with the Academy is not an easy one, and in 1773 he stops exhibiting.
1774
The move to London: Schomberg House
In 1774 Gainsborough and his family move to London, to live in Schomberg House on Pall Mall.
1774–1788
The rivalry with Reynolds
In London Gainsborough sets up his studio next to Christie's auction rooms, which he often visits. His London years are marked by rivalry with Joshua Reynolds, president of the Royal Academy.
1777
Back at the Academy exhibition: “The Watering Place”
In 1777, after a long break, Gainsborough again takes part in the Academy's exhibition, showing “The Watering Place” — his answer to Rubens's “Watering Place”. In the following years he keeps painting landscapes, and even two seascapes appear, one with a calm and one with a stormy sea.
c. 1777
Experiments with aquatint and etching
About this time Gainsborough begins experimenting with printmaking in the then-novel techniques of aquatint and soft-ground etching.
