Catalogue des peintures et dessins. . Ou suggestimportance. Toutes les marques de perception intuitive de Gainsboroughswork. Ses hommes et femmes peuvent toujours être transplantées dans hislandscapes, son sentiment pour animer et matière inanimée souffle-ing jamais la même qualité rare. Dans les filles d'artistes ainsi que dans les portraits dans theSouth Kensington Museum, peint quand les filles étaient plus jeunes, les chiffres sont traités de manière plus objective que dans beaucoup d'hisworks d'égale importance. Les filles de Gainsborough, Margaret et Marie, sont supposés avoir été né à propos de1750, et la peinture a été attribué à 17

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AJ416E
• Taille du fichier: 7,1 MB (360,5 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1648 x 1516 px | 27,9 x 25,7 cm | 11 x 10,1 inches | 150dpi

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Catalogue of paintings and drawings. . or suggestimportance. Intuitive perception marks all of Gainsboroughswork. His men and women can always be transplanted into hislandscapes, his feeling for animate and Inanimate matter breath-ing ever the same rare quality. In The Artists Daughters as well as In the portraits In theSouth Kensington Museum, painted when the girls were younger, the figures are treated more objectively than In many of hisworks of equal Importance. The daughters of Gainsborough, Margaret and Mary, are assumed to have been born about1750, and the painting has been ascribed to 1770. MargaretIs the seated figure In white and Mary, the younger sister Inblue-green stands behind her. A pink ribbon introduces acheerful note of colour. The portfolio repeats the brown in thebackground. Oil on canvas, 50 inches b- 40 inches. 89. A GRAND LANDSCAPETHOMAS GAINSBOROUGH 90 THOMAS GAIXSBOROIX^H English, lyij-iySSA GRAND LANDSCAPK Galnsborougirs .:/ Grand Landscape is an Imposing com-position. It has, In spite of Its formal character and distin-guished unreahty, very Intimate passages and a spirit of roman-ticism. The foreground Is strongh painted, yet with charac-teristic reserve. The foHage of the trees on the hill and at theleft, and on the branches below, Is broad and masterful In execu-tion. The treatment of this part of the picture is t}pical ofGainsboroughs best phase—when his trees and leaves give theImpression of being blown and rustled by wind coming in alldirections. Gainsborough understood English scenery and interpretedit with intimacy, thus unfolding the sentiment of century-widetradition of English country life. His art and consequentattitude towards nature were not calculated. He regarded sitterand landscape in the same manner. Although Constable Isproperh considered the father of modern landscape

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