Celebrated as the most notable portrait and landscape painter of Georgian England, Thomas Gainsborough (1727-1788) was also a brilliant and experimental draftsman. Accompanying an exhibition at the Morgan Library & Museum, New York, Thomas Gainsborough: Experiments in Drawing offers an overview of his work as a draftsman, with a particular look at
Also explored are his precocious early works, his subtle approach to the lucrative world of fashionable portraiture, the often pointed social commentary behind his seductive landscapes, and the exploratory nature of the last works."--BOOK JACKET.
Anecdote Lives of William Hogarth Sir Joshua Reynolds Thomas Gainsborough Henry Fuseli Sir Thomas Lawrence and J M W Turner
Martin Postle reassesses Gainsborough's attitudes towards the central aspects of his art: landscape and portraiture. This book also examines the impact upon his career of the Royal Academy and the Court of St James's.
Exhibition of the works of Thomas Gainsborough with notes by F G Stephens and a collection of drawings by R Doyle
Accompanying an exhibition of drawings by Guercino from the collection of the Morgan Library & Museum, Guercino: Virtuoso Draftsman offers an overview of the artist's graphic work, ranging from his early genre studies and caricatures, to the dense and dynamic preparatory studies for his paintings, and on to highly finished chalk drawings and landscapes that were ends in themselves. Giovanni Francesco Barbieri, known as Guercino (1591-1666), was arguably the most interesting and diverse draftsman of the Italian Baroque era, a natural virtuoso who created brilliant drawings in a broad range of media. The Morgan owns more than twenty-five works by the artist, and these are the subject of a focused exhibition, supplemented by a handful of loans from public and private New York collections, to be held at the Morgan in the autumn of 2019. This volume accompanies that exhibition. It includes an introductory essay on Guercino's work as a draftsman followed by entries on the Guercino drawings in the Morgan's collection. These include sheets from all moments of the artist's career. His early awareness of the work of the Carracci in Bologna is documented by figures drawn from everyday life as well as brilliant caricatures; two drawings for Guercino's own drawing manual are further testament to his interest in questions of academic practice. Following his career, a range of preparatory drawings includes studies made in connection with his earliest altarpieces as well as his mature masterpieces, including multiple studies for several projects, allowing the visitor to see Guercino's mind at work as he reconsidered his ideas. The Morgan's holdings also include studies for engravings as well as highly finished landscape and figure drawings that were independent works. Guercino: Virtuoso Draftsman continues a series of exhibition catalogues focused on highlights from the Morgan's collection. Previous volumes include Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens and Thomas Gainsborough: Experiments in Drawing, also published by Paul Holberton. While some of the Morgan's Guercino drawings are well known, they have never been exhibited or published as a group, and the selection includes a number of new acquisitions.
Thomas Gainsborough (1727 – 1788) was an English portrait and landscape artist, the most versatile English painter of the 18th century. He was the most inventive and original, always prepared to experiment with new ideas and techniques. Gainsborough alone among the great portrait painters of the era also devoted serious attention to landscapes. Unlike Reynolds, he was no great believer in an academic tradition and laughed at the fashion for history painting; an instinctive painter, he delighted in the poetry of paint. In his racy letters Gainsborough shows a warm-hearted and generous character and an independent mind. His comments on his own work and methods, as well as on some of the old masters, are very revealing and throw considerable light on contemporary views of art. Gainsborough was noted for the speed with which he applied paint, and he worked more from observations of nature than from application of formal academic rules. The poetic sensibility of his paintings caused Constable to say, "On looking at them, we find tears in our eyes and know not what brings them." His later work was characterized by a light palette and easy, economical strokes.