Gainsboro Biography

He worked mainly in the portrait, but at the same time was one of the creators of the English landscape. Close -to -date, perception of the world to Stern's sentimentalism in literature, Gainsboro in his best paintings was a realist, acutely sensitive, sophisticated characters of the portraited, which correspond to the exquisitely softened harmony of colors. For some time he studied in London with the Frenchman, and then with Heiman.

His first works belong to the field of landscape painting. Having gained fame as a master of the portrait, he began to receive orders from celebrities of his time and a titled nobility. Blossed and low -communal, the artist did not go beyond the limits of his homeland. His enthusiasm for painting and music contributed to the identification of complex color harmony, the musicality of the rhythm of his picturesque works.

Already in his early works, Gainsboro creates a peculiar type of portrait composition. He portrays portrait on the background of the landscape, walking or vacationers. The artist’s constant appeal to the motives of the national landscape, written from nature, led to the enrichment of portrait compositions with a landscape background. A rural landscape, a ripe wheat and a green valley in an exact, sharp -shaped paired “portrait of Andrie with a wife” near, London, a national gallery, was perfectly written.

Mr. and Mrs. Andrew rest in the afternoon dedicated to hunting. To the right, their extensive estate extends far into the depths. The sheaves of wheat remind you that autumn has already come, and the hunting rifle and Mr. Andrie's dog make it clear that he had just returned from hunting. Perhaps Gainsboro wanted to include a pheasant in the composition, shot by this elegant English gentleman, but the picture was never completed.

The perfectly written satin dress of Mrs. Andrew is not finished - only a barely planned bird's outbreak is visible on her lap. Robert Andrew and Francis Carter got married in November, and the portrait was probably written in honor of this event. Unlike many contemporaries, Gainsboro did not belong to the academic direction. The inherent intuitive sense of style and color, the magnificent possession of the brush makes the artist one of the greatest European masters of the 18th century.

Although by the profession of Gainsboro was a portrait, his true vocation was an image of English nature. Over time, the artist’s portraits intensify the features of subtle spirituality. Social characteristics are pushed into the background. In these works, the environment surrounding man, first of all, nature - the landscape of an old park or a forest edge - becomes an ideal environment, a harmoniously consonant with the mood of the portrait.

In some cases, Heinsboroto executed orders of the same persons as Reynolds. These portraits emphasize the difference between the creative method and the originality of the artistic manner of each of them. If Reynold depicted Sarah Siddons in the form of a muse of the tragedy, lushly dressed and sitting on the throne, then Gainsboro introduced the famous actress in life, in an elegant suit for a walk, calmly sitting in the chair - “Portrait of actress Sarah Siddons” -, London, the National Gallery.

The artist emphasizes the intellect of a young woman, her charm, grace, taste, without resorting to allegories. A tall black hat with feathers is loosened against a dark red background, shading the whiteness and tenderness of the skin of her thin face. Blue tones of the dress acquire special sonicity in the neighborhood with contrasting golden shades of a scarf and a red fur coupling.

The color of the portraits of the Heinsboro, most often built on a combination of cold bluish-silver, olive-gray, pearl tones, conquers nobility and harmony. The artist conveys a diffused light typical of England, a wet atmosphere, which softens the outlines of objects. He does not seek to hide the smears of the hand, light and dynamic. Exactly laid, upon close consideration, they seem sharp in their pointlessness, the finest shades shimmer from one to the other.

At the distance, the smears, merging into one, give the movement of life, that elusive trepidity that cannot be conveyed by other means. Features of the picturesque manner of Gainsboro clearly perform in the Portrait of the Duchess de Bofor?

Overflows of white, pearl-gray and bluish tones of clothing enhance the impression of sophistication, the nobility of her appearance. In a favorite silver-blue colorful gamut, a “blue boy” is written by the portrait of J. Battola, near, San Marino, the USA, Gallery Huntington, in which Heinsboro, with particular sophistication, develops the tradition of an aristocratic portrait in growth, which was still in the work of Van Deek.

But in this portrait there is more intimacy, poetry, musicality and subtleties of picturesque skill. Attention is attracted by the nervous face of a teenager with a print of complex mental life; His melancholy mood is consonant with excited nature. Liberation in his posture, there is an elegant and fragile boy, holding a large black hat in his hand. His figure stands out against the background of the cloudy sky and evening landscape.Countless blue, pearl-gray, lilac and olive tones make up the colorful symphony of this wonderful portrait.

In addition to portraits in growth, waist, loading, Gainsboro wrote paired and group portraits, sometimes approaching genre scenes. This type of genre group portrait was widespread in the English art of this time. In the masterfully fulfilled, compositionally built group portraits of Gainsboro, he skillfully emphasizes the warmth of relations connecting people, their proximity to nature, their dreaminess, and this relates to his images with the heroes of literary works of the English educational writers and sentimentalists, who affirmed the ideals of natural simplicity and truthfulness.

Deep feelings unite Squire Hallet and his wife in the portrait, called the Morning Walk, London, and the National Gallery. Walking in an old park, beautiful young people enjoy nature, the nobility of their feelings is subtly conveyed in the movements of their hands, in views, in facial expressions. A little white dog caresses to his mistress, complementing this idyllic, full of poetry picture of cloudless happiness, prosperity, and internal consent.

Amazing accuracy, the artistry of the acute smear of the brush give the surface of the canvas a mobile character. The delicate muffled harmony of colors is consonant with the general thoughtful mood, lyricism of the picture. Complex mental movements are interested in the artist in a person, regardless of his social status. He finds thin natures among ordinary people.

These are the charming, naive-indirect and poetic images of rural children surrounded by rural nature-“brushwater collectors”, New York, and the Metropolitan Museum. Throughout the beauty of his native land, the artist wrote rural landscapes throughout his life. He conveyed various states of nature, juicy saturated colors of yellowing Niv, thick greenery of forest edges, picturesque parks, transparent ghosts "Watering", near -, London, National Gallery; “A wagon traveling to the fair”, London, Tate Gallery.

The images of the nature of Gainsboro anticipate the realistic landscape painting of the 19th century and, above all, the art of constable. Following Reynolds and Gainsboro, a galaxy of masters of the English portrait is a galaxy. Among them stands out a virtuoso, but somewhat cold George Romny - who gravitated to classicism, paying special attention to plastic forms, purity and smoothness of lines, clarity of contours.

He owns a large number of female and children's portraits, outwardly attractive, pretty, but internally still insignificant. These are the portraits of the famous Lady Hamilton, which he wrote repeatedly, a portrait of flirty-izyshchiy Harriet Garr, St. Petersburg, an Hermitage in a wide-brimmed hat with a white feather.