Thomas Gainsborough Prints Fine Art Paintings

Visit Thomas Gainsborough for a larger selection of his art.

Mr. Mrs. Andrews Art Print

Blue Boy Art Print

Portrait Bishop Woodward Half-Length Clerical Robes

Portrait Miss Boone Wearing White Dress Gold Embroidery Pearl Chain

Portrait Sir John Skynner P. Legal Robes Holding Book

Portrait a Lady Said to Be Elizabeth Chudleigh Countess Bristol Giclee Print

River Landscape Rustic Lovers Mounted Herdsman Driving Cattle Sheep Over Bridge

Self Portrait Giclee Print

Landscape Storm Effect Giclee Print

Mrs. Richard Brinsley Sheridan Print

Portrait David Garrick Giclee Print

Mary Countess Howe Giclee Print

During the 1740s, Gainsborough wed Margaret Burr, the illegitimate daughter by the Duke of Beaufort, who established a £200 annuity on the pair. The painter's art, at that time primarily made up of landscape subjects, had not been being purchased too well. He went back to the town of Sudbury during 1748-1749 and focused on the portrait painting.

During 1752, Thomas Gainsborough and his family, which now included two young daughters, relocated to the town of Ipswich. Commissions for private portraits grew, however his patronage was made up of chiefly regional merchants as well as squires. Gainsborough was required to borrow against the sum of his wife's annuity.

Portrait Mrs. Lowndes-Stone Giclee Print

Portrait Lady Bust Length Pink White Dress Trimmed Lace Pearl Necklace

Karl Frederick Abel Giclee Print

Conversation Park Portrait Artist His Wife Margaret Burr

Gainsboroughs Forest Cornard Wood Giclee Print

Mr. Mrs. George Byam Their Eldest Daughter Selina

Viscountess Penelope Ligonier Giclee Print

Mr. Mrs. William Hallett Morning Walk Giclee Print

During 1759, Gainsborough took his family and relocated again, this time to Bath. In this location, he studied portraiture by celebrated painter van Dyck and had been at length able to entice a more well paying high society patronage. During 1761, he started to send off paintings to the Society of Arts exhibit in London , which is today the Royal Society of Arts, which he had been among the earlier members, and so from 1769 on, he presented pieces to the Royal Academy's yearly showings. He chose portraits of familiar or infamous patrons in order to draw attention. Such exhibits assisted him to gain a national repute, and so he was asked to be among the initial members in the Royal Academy during 1769. Gainsborough's relationship with the academy, all the same, had not been a smooth one and so he ceased showing his art works with them during 1773.

During 1774, Gainsborough took his family and once more relocated. They traveled to London to reside in Schomberg House, Pall Mall. During 1777, he once more started to present his artwork with the Royal Academy, which included portraits of present-day celebrities, like the Duke and Duchess of Cumberland. Exhibits of his paintings persisted for the following 6 years.

During 1780, Gainsborough created the famous portraits of King George III as well as his queen and subsequently earned numerous royal commissions. Such afforded him a bit of influence at the Royal Academy as well as enabled him to prescribe the way in which he wanted his paintings to be presented. Nevertheless, during 1783, he withdrew his art works from the approaching exhibition and transported them to the Schomberg House.

During 1784, royal artist Allan Ramsay passed away and the King was obligated to present the position to Gainsborough's competitor as well as Academy president, Joshua Reynolds, nevertheless Gainsborough continued to be the Royal Family's preferred artist. By his own explicit direction, Gainsborough had been laid to rest at St. Anne's Church, Kew, a place the Family frequently worshiped.

Throughout his late years, Gainsborough frequently painted comparatively uncomplicated, average landscapes. Along with Richard Wilson, he had been among the originators of the 18th century British landscape school; although at the same time, in concurrence with Sir Joshua Reynolds, Thomas Gainsborough had been the predominant British portrait painter of the latter half of the eighteenth century.