Week 5

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9 THOMAS GAINSBOROUGH  (1727-1788)10 CONVERSATION PIECES AND ‘ESTATE’ PORTRAITS

An interesting development of 18^th-century portraiture was the depiction of sitters in landscape settings that included views of their estates. Often these were group portraits, ‘conversation pieces’ where families were gathered together. The groups showed their genealogy, and inclusion of their possessions denoted their social status.

 

Best known as a painter of high society portraits, Thomas Gainsborough had in his early career painted in the provinces and produced a number of portraits set in country estates. He also developed landscape independently, claiming that is was his preferred genre. These works showed the influence of Dutch painters and Rubens, although they became more Rococo in approach later. Both his portraits and landscapes have been read as evidence of social change in the English countryside: in the 18^th century, increasing enclosure of the common land by landlords for agricultural developments prevented it being used for grazing, foraging and fuel for the poor, causing them considerable hardship. It has been suggested that Gainsborough treats peasants and farm workers in ways that sentimentalise them and obscure the realities of rural life at the time, but that made them acceptable subject matter to his well-to-do patrons.

 

9-10 READINGS

 

This period has been the subject of some stimulating revisionist writing. Texts by Barrell and Bermingham are seminal reading for this course.

Barrell, John. The dark side of the landscape: the rural poor in English                      painting, 1730‑1840. Cambridge: Cambridge University Press, 1980.

Belsey, Hugh. Thomas Gainsborough: a country life. London: Prestel, 2002.

Bermingham, Ann C. Landscape and ideology: the English rustic tradition, 1740‑1860. London: Thames and Hudson, 1987.

Hayes, John. The landscape paintings of Thomas Gainsborough: a critical text and catalogue raisonné. Ithica: Cornell University Press, 1982.

 

Slide List Lecture 9: THOMAS GAINSBOROUGH (1727-1788)

 

We will view a video which covers Gainsborough’s full career, and is particularly useful for throwing light on the art scene in England in the later 19^th century, then examine his pure landscapes, reserving his landscapes with figures for Lecture 10.

1          Landscape: Cornard wood. 1748. Nat. Gall, London

2                      cf Hobbema Wooded landscape. 1665.

3          View of Dedham. 1750-53. Tate Gall, London.

4          Wooded Landscape with shepherd resting.  1745-6. Private Coll.

5          The Watering Place. 1777. Nat Gall, London.

6                      cf Rubens The Watering Place. 1620-25.

7          The harvest wagon. 1767. Barber Inst, Birmingham.

8                      cf Rubens Autumn Landscape with the Chateau Steen. 1635.

9                      cf Rubens Descent from the Cross. 1610.

10        Classical Landscape/Pastoral Landscape. 1783. Philadelphia.

11        Landscape with a bridge. 1785-88. Nat. Gall, Washington.

12                    cf Watteau The Bird Nester. 1710. Edinburgh.

 

Slide List Lecture 10: CONVERSATION PIECES & ‘ESTATE’ PORTRAITS

 

GEORGE STUBBS (1724-1808)

1          Reapers. 1794. Yale Center for British Art.

2          Haymakers. 1794. Yale Center for British Art.

3          Henry Fox & Earl of Albemarle Shooting at Goodwood. 1759. Goodwood

4          Duchess of Richmond and Lady Lennox watching the Duke’s Race Horses at Exercise. 1760. Goodwood.

5          The Saltonstall family. 1769. Priv. coll.

6          John and Sophia Musters out riding at Colwick Hall. 1777. Priv. coll.

ARTHUR DEVIS (1712-1787)

7          John Offley Crewe and his Family. Crewe Hall.

8          Young Gentleman at a Drawing Table. 1761. Manchester.

9          The James family. 1751. Tate Gall, London.

10         Edward Parker and his Wife, Browsholme Hall. 1757.

11         Frances Clinton, 9^th Earl of Lincoln, wife Catherine & son George. 1757.

12         Edward Rookes-Leeds and Family. 1760. Priv coll.

13         Robert Vernon Atherton and his Family.  Mellon Coll. 

WILLIAM HOGARTH (1687-1764)

14         Ashley Cowper with his wife and daughter. 1731. Tate Gall, London.

15         Conversation Piece with Sir A Fontaine. 1730-35. Philadelphia.

RICHARD WILSON

16         Solitude. 1762. Swansea.

GEORGE STUBBS

17         Lady reading in a park. 1768-70. Priv. coll.

THOMAS GAINSBOROUGH (1727-1788)

18         The Honourable Frances Duncombe. 1778. Frick, New York.

19         Mrs Richard Brinsley Sheridan. 1785-6. Nat Gall, Washington.

20         Mr and Mrs George Byam and their daughter. 1764. Marlborough College.

21         The Morning Walk (Mr and Mrs Hallam). 1785. Nat Gall, London.

22         Heneage Lloyd and his Sister. 1750s. Fitzwilliam, Cambridge.

23         John Plampin. 1755. Nat. Gall, London.

24         Mr and Mrs William Carter of Ballingdon House. 1746-7.

25         Conversation in a Park. 1746-47. Louvre, Paris.

26         Self Portrait with his Wife and Daughter. 1751-2. Priv. Coll.

27         Mr and Mrs Grosvenor and their daughters. 1748-49. Yale Center for British Art.

28         Mr and Mrs Robert Andrews. 1748. Nat. Gall, London.

29         Landscape: Cornard wood. 1748. Nat. Gall, London.

30         Rest by the Way. 1747. Philadelphia.

31         Wooded Landscape with shepherd resting. 1745-6. Private Coll.

32         Wooded Landscape with Cattle at a Watering Place. 1747

33         Wooded landscape with country wagon, milkmaid and drover. 1766. Priv.

34         Rocky Wooded Landscape with Rustic Lovers. 1771. Wales.

35         Going to Market. 1770.

36         Peasants returning from market through a wood. 1767-68. Toledo.

37         The harvest wagon. 1767. Barber Inst, Birmingham.

38         The harvest wagon. 1784-85. Art Gall, Ontario.

39         Cottage door. 1780. Huntington Library and Gallery.

40         Cottage girl with dog and pitcher. 1785. Sir Alfred Beit.

41         The cottage door with children playing. 1778. Cincinnati.