Thomas Gainsborough Art
English, 1727-1788
Known for his portraits, Gainsborough himself considered himself primarily a landscape painter. But landscapes were not marketable in England at the time, and the artist's main income came from portraits. Nevertheless, in Gainsborough's work, landscape plays no less of a role than portraits, both in quality and quantity. The practice of creating small landscapes as an attempt to look through and see the overall pattern and intent became his preferred method of working.
In addition, Gainsborough often turned to the works of seventeenth-century Dutch landscape painters for inspiration. With the study of the Old Masters, Gainsborough's landscapes developed an emphasis on the background. The glittering dales, highlighted by light and beckoning to the viewer, give the landscapes of the mature period depth. Gainsborough skillfully combined the realism of the Dutch landscape with the lightness and decorativeness of the French one. The artist's style of painting became increasingly broad and free, and the color layer more fluid.
Gainsborough drew inspiration for this work from a painting attributed to Peter Molyneux (1595 - 1661) and, of course, the painting present seems to have been based on the work, an artist whose work appeared whose work was in Gainsborough's personal collection2. Massive trees dominate the left side of the composition, opening to the right. In the landscape painted for the exhibition, Gainsborough filled both sides and the entire top of the canvas with depictions of tree crowns, balancing both parts of the composition and echoing the somber majesty of Jacob van Reisdal's landscapes3. The changeable play of light and shadow in the dense foliage is given a dramatic quality that is offset by the overall lyrical mood of the landscape. The lightness of the brush and the freedom of the painterly manner shades the compositional clarity. The main role here is played by light. It, for the first time, begins to play a constructive role. The landscape is permeated with light, but the light is not bright, the scattered light of the English sky.
It is light that is the main innovation of Gainsborough in the field of landscape, which opened the way to its further development up to Romanticism and the paintings of John Constable, an admirer of Gainsborough's work.(Biography provided by Rain Art OÜ)
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Artist: Thomas Gainsborough
Wooded Landscape with Peasants in a Wagon
By Thomas Gainsborough
Located in Tallinn, EE
Thomas Gainsborough R.A.
(1727, Sudbury - 1788, London)
Wooded Landscape with Peasants in a Wagon
oil on panel
35,5 by 29,8 cm.
Provenance
Charles, Viscount Eversley (1794-1888); B...
Category
18th Century Thomas Gainsborough Art
Materials
Canvas, Oil
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