Thomas Gainsborough: portrait in blue and silver. Thomas Gainsborough: a portrait in silver-blue tones Thomas Gainsborough lady in blue description of the picture

Thomas Gainsborough- famous English portrait and landscape painter. His creative nature began to manifest itself in early childhood, when he made the first attempts to make sketches of nature and sculpt animals.

At the age of thirteen, Thomas went to London, where he studied painting with the famous portrait painter Francis Hyman. But the style of the young artist was greatly influenced by, known for his painting "Capricious". In addition to him, Gainsborough imitated, no less popular artist of that time. Getting to know his work helped Thomas understand how important in painting is the resemblance to the original and the ability to portray the character in his natural everyday environment.

In 1745, the author's earliest work appeared: a portrait of a bull terrier against a landscape. On the canvas, the then young master made a postscript: "Remarkably smart dog".

Starting as a landscape painter, he finally moves on to portraiture. But in the 70s, the famous painting “Boy in Blue” appeared, on which the artist managed to combine a landscape and a portrait of a boy in a blue suit.

Jonathan Buttol posed for the artist. Thomas was drawn to the teenager's nervous, pale face. In the picture, Gainsborough conveyed the melancholy mood of the young man against the backdrop of the waving nature. The portrait is made in blue and olive tones, which gives lightness and spirituality to the image of the hero.

Subsequently, the silver-blue gamut became the favorite of the painter. Well-known is another work - "The Lady in Blue". Numerous shades of white, pearl, blue colors create a sophisticated and noble image of a beautiful woman.

Like many other pictorial masterpieces, the portrait has its own secret: the name of the girl who posed for the master is still unknown. The researchers had an assumption that the mysterious beauty is the Duchess de Beaufort. However, there was no reliable confirmation of this hypothesis.

In addition to single portraits, Thomas Gainsborough painted group ones. Often they are more like scenes from life, as if the artist, like a photographer, captured fragments of some situation, which then froze on canvas. He was especially good at family portraits. He was able to portray the special family relationships, warmth and closeness that bind people.

An example is the sensual portrait of Squire Hallet and his wife, called "Morning Walk".

Poetry in the canvases of Thomas Gainsborough is one of the distinguishing features that make the painter related to writers and poets. The realism of his paintings is softened by the harmony of light pastel colors.

Until the end of his life, the artist's main love was his native land. Rural landscapes, lush greenery of groves, a field turning yellow and shimmering in the wind - all this remained in the heart of Thomas Gainsborough and on his canvases.

We have not yet discussed the work of Thomas Gainsborough (1727 - 1788) - a famous English portrait painter of the 18th century. One of the most poetic artists, a recognized head of the English school, a favorite of English aristocrats, who vied with each other to order their portraits from him.

Today we will take a closer look at one of his most famous works, which is located in the Hermitage LADY IN BLUE.

About the artist.

Thomas Gainsborough. Self-portrait 1759

The earliest work signed by the artist was painted in 1745. A portrait of a bull terrier was depicted against the background of the landscape, and on the other side of the picture, Thomas signed "Remarkably smart dog." At the same time, a portrait of the owner of the dog, Henry Hill, was also painted.

Bull Terrier Bumper
Over time, Gainsborough began to succeed, and in 1745 he already had his own workshop. In July 1746, the 19-year-old artist creates a family.

Gainsbrough's main income was portraits, in the style of which he imitated Hogarth. From him, he learned the immediacy of perception, thinking more about similarities, trying to draw an everyday human face.

In early 1760, after moving to the spa town of Bath, Thomas becomes very popular. He paints portraits, fulfills many orders of local and metropolitan aristocrats. During this period, his work is influenced Van Dyck , but over time, the artist develops his own style. Portraits of Thomas are fanned with lightness, elegance and sophistication.

Gainsborough's work begins to be exhibited regularly in London. Particularly popular during this period are Eliza and Thomas Lynle and The Lady in Blue. In 1770, the artist paints the famous portrait "The Blue Boy", where a boy in a blue suit is compared with the landscape.
Three years later, Thomas finally moves to London. Even King George III begins to patronize the artist. It should be noted that in the creative works of Gainsborough, the landscape plays a more significant role, unlike other portrait painters. In his last years of life, Thomas painted tender, sometimes sentimental portraits of peasants and children, landscapes and genre scenes. The famous artist died in August 1788.

AND NOW ABOUT THE LADY IN BLUE.

LADY IN BLUE

Written around 1780, during the period of the highest flowering of his artistic skill. Is in State Hermitage Museum in St. Petersburg (the only work of the artist in the museums of Russia).

FACE IN THE PORTRAIT

According to some researchers, the portrait depicts a daughter Admiral Boscawen Elizabeth, married Duchess of Beaufort , who should then be about 33 years old (born May 28, 1747). This version is not indisputable, however, the alternative title of the painting with the French version of the title "Portrait of the Duchess de Beaufort" is often used in art history.

DESCRIPTION

The painting dates back to the heyday of Gainsborough's talent, when he created a number of poetic portraits of women in the style Van Dyck . The artist managed to convey the refined beauty and aristocratic elegance of the lady, the graceful movement of the hand supporting the shawl.

A satin scarf lying over a thin translucent white dress, a small elegant hat, and it seems that even in powdered hair there are reflections of blue

Another art critic writes:

“It is not so much the mood of the model that is conveyed, but what the artist himself is looking for in her. The “Lady in Blue” has a dreamy look, a soft line of shoulders. flower on a thin stem.

Built on an exquisite harmony of cold tones, the portrait seems to be woven from light strokes, varied in shape and density. It seems that the strands of hair are not made with a brush, but are drawn with a soft pencil.

LEGAL ACTION BY THE HERMITAGE

In 2005, Iya Yots, owner of the St. Petersburg of the Iya Yots designer clothing store, commissioned a stylized one-color derivative work from the painting “Lady in Blue” from the graphic designer, while giving a portrait resemblance to the customer’s face.

This work was done under contract.Copies of the image were further used as decor at the entrance to the store and inside it, in terms of the court order "began to use drawing in order to create a favorable atmosphere in the room in which her collection is located»

The court proceeds with varying degrees of success. There is still no final decision.

The position of the Hermitage remains firm. According to a spokesperson for the museum:To use our image for some things (buildings, interiors or paintings), you need to ask the permission of the Museum. This is the law»

GALLERY OF PICTURES OF GAINSBOrough.

"Boy in Blue" (1770)

Portrait of the Andrews couple (circa 1750)

Morning walk "(1785)

Portrait of Sarah Siddons (1785)

Setter.

Portrait of Mrs Mary Graham (1775

Portrait of Georgiana, Duchess Devonshire (1785-1787)

Alexander Hamilton (1767-1852), 10th Duke of Hamilton, 7th Duke of Brandon

Country Girl (1785)

The biography of the English artist Thomas Gainsborough is not marked by any significant events. He was born in the provincial town of Sudbury, far from London, and although he began to show an early interest in art, he did not have to receive a systematic art education.

Once the town of Sudbury was one of the centers of the wool and cloth trade. Not only spinning, weaving and dyeing flourished here, but also the finishing of finished goods. But by the time of the birth of T. Gainsborough, the heyday of Sudbury was already far behind.

During his school years, T. Gainsborough often begged the teacher to let him go from school. If this worked out, he ran away to the vicinity of Sudbury, to the river or to the meadows - to paint. And there was no such picturesque group of trees in the area (or even a lone but perfectly standing tree), a green hedge, a ravine or a rock, even a roadside post at the turn of the path, that would not be imprinted in his memory. Moreover, they were imprinted in such a way that the young T. Gainsborough could sketch them by heart with every detail and accuracy.

He made himself an artist, he did not have a chance to go through any serious art school, so he carefully studied all the necessary secrets and secrets of skill in the works of his predecessors. T. Gainsborough received only some artistic skills during a short study with the French engraver Gravello (who lived in England) and the prosperous portrait painter and decorator F. Hyman. At the age of twenty, he had already begun to work independently in his homeland, doing mainly landscape painting. All his life, T. Gainsborough considered himself primarily a landscape painter, and even the first portraits of friends and neighbors were painted by him in the bosom of nature, which helped the artist to better recognize and reveal the characters of people.

Portraits of T. Gainsborough are usually uncomplicated in their compositional solution. Most often, the artist simply places the figures in the middle of the canvas, almost not caring about how to somehow vary their poses. The main charm of T. Gainsborough's portraits lies in the poetic disclosure of the inner world of the portrayed, which is achieved by the artist through a purely pictorial solution - the beauty of color and free light strokes that create the impression of a lively and reverent life.

Talented T. Gainsborough and his skill fully manifested itself when the artist moved to Bath - a fashionable and rich resort in the south-west of England, and then to London. No one bought landscapes from him, the then English nobility was not interested in nature and peasant life, and T. Gainsborough began to paint portraits. They did not bring him special wealth, but they put him on a par with the greatest painters of the world.

Among these masterpieces is the "Portrait of the Duchess de Beaufort" ("Lady in Blue"), written in the late 1770s. In this canvas, one can feel the influence of portraits of Van Dyck, one of T. Gainsborough's favorite artists. It was the portraits painted by Van Dyck (and also by Rubens) that helped T. Gainsborough get away from some dryness and connectedness inherent in his early works. The artist's brush has become more confident and lighter, and "The Lady in Blue" attracts not so much by its external showiness as by its poetic spirituality.

In this portrait, the viewer sees a young woman in a white open dress. Her powdered, slicked-back hair is styled in an elaborate updo and topped with a small hat with ostrich feathers and a blue ribbon. Curls descend to the very shoulders, on a thin neck there is a black ribbon, from the end of which hangs a golden cross. Wet lips are half open, brown eyes under dark eyebrows are directed into space. A hand with a bracelet supports a blue scarf on his chest, slipping off his shoulders.

We know nothing about the woman who served as a model for Thomas Gainsborough. Perhaps it was the daughter of Admiral Boscawen, who in 1766 married the Duke de Beaufort and subsequently died at a ripe old age. Only the portrait, executed by T. Gainsborough, allows you to get an impression of a lovely lady in her youth. The refined modesty of the image, the equanimity of the look, the exquisite restraint of the pose make the secular lady a poetic embodiment of youth and beauty.

A gliding dreamy look, the outlines of pink lips, just about ready to smile, a barely noticeable turn of the head ... The image of the Duchess de Beaufort is woven from unfinished movements, barely outlined by the artist, this is what makes it especially lively and charming.

Where it was necessary to emphasize the characteristic, T. Gainsborough persistently enhances the expressiveness of the techniques, diversity and complicating them. So, for example, the artist has convincingly developed a careless gesture of a hand that barely touches the fabric: her pink fingers, tapering at the ends, are ready to slip off, as if unable to hold the tight folds of the scarf.

Blue, grey, pink and white tones seamlessly blend into one another without creating sharp contrasts for the viewer. The translucent dress of the duchess merges with her skin, as if forming a single whole with the body. Greyish-white feathers, an azure headband and powdered hair create a kind of halo around a young face with its fresh blush. "Portrait of the Duchess de Beaufort" seems blue (hence its second name), as light, radiant colors with mother-of-pearl reflections shimmer like water reflecting clouds.

The layer of painting by T. Gainsborough in this work is so thin that the weaving of the canvas shines through it. His painting is built on the finest color ratios, and the free, slightly impetuous technique of the master gives the portrait a quivering breath. For example, wavy, sometimes intersecting, but mostly parallel blue, black and gray strokes even allow you to feel the living structure of the hair under the touch of powder. They are slightly stretched over the forehead and temples, and on lush curls their natural elasticity is felt more strongly. In contact with the hair, curls of ostrich feathers (smaller than hair) foam like surf water without breaking the overall shape of the long, curved feather.

T. Gainsborough painted the fabric of the dress with random strokes, as if on purpose, but they convey the subtlety of matter, obediently following the outlines of the figure. The strokes of the thin brush were so perfect that they turned the oil paint into some kind of transparent flowing watercolor. A dense silk scarf is interpreted differently than a transparent dress: its thick folds bulge and bend, showing the fragility of the fabric.

In his book on the treasures of the Hermitage (it is there that the "Portrait of the Duchess de Beaufort" is located) L.N. Voronikhina writes: “It is not so much the mood of the model that is conveyed, but what the artist himself is looking for in her. The “Lady” has a dreamy look, a soft line of shoulders. exotic flower on a thin stem. Built on an exquisite harmony of cold tones, the portrait seems to be woven from light strokes, various in shape and density. It seems that the strands of hair are not made with a brush, but drawn with a soft pencil." Creating the "Portrait of the Duchess de Beaufort", T. Gainsborough painted her appearance with a gentle romantic haze and bright dreaminess. He, not specifically seeking to reveal the entire depth of the human soul, created a truly great creation.

It is not in the program or I do not see it. BUT she was on the exam in 2009. And it will be here, I love her very much.

Let's talk about the work of the English artist Thomas Gainsborough (1727-1788). A native of bourgeois circles, the ninth child in the family, almost self-taught, Gainsborough became famous for his portraits of British aristocrats. However, the artist himself liked to create landscapes more, so he depicted his customers, as a rule, in the bosom of nature. It is interesting that Gainsborough painted his landscapes not from nature, but from artificial models, using various natural materials (stones, sand, plants, etc.). The artist refused English aristocrats who wanted to get a picture of their huge estates, despite the large fees offered, preferring to embody his own original fantasies on canvas. Abstract art was not yet held in high esteem (the fashion for artificial landscapes came only at the end of the 18th century), so portraits remained the main source of income for Gainsborough. Gainsborough's landscapes included figures of people, and he painted people against the backdrop of landscapes, so art critics define the painting of this artist as a landscape portrait.
In his work, Gainsborough tried to reflect the harmony of man and nature. His style is distinguished by a romantic spirit, musicality (the artist played several musical instruments), an interest in the sublime (manifested, say, in a series of mountain landscapes) and a sentimental attitude towards rural life. The artist did not use the services of apprentices (a practice common for that era), masterfully, in particular, depicting draperies, fabrics and lace.
In the portrait known as "Lady in Blue"(1777-79; oil on canvas, 76x64 cm), depicts Duchess Elisabeth de Beaufort. In his portraits, Gainsborough tried to convey a direct impression, a "moment" that reveals the essence of a particular person. Gainsborough achieved this goal by various methods, for example, by working with very long (180 cm) brushes - in order to be at the same distance from the model and from the canvas. The artist attached great importance to the play of chiaroscuro (hence - his experiments with the "magic lantern": glass pictures, behind which light sources were placed), one of the sources of impressionism is found in his work. The portrait of the Lady in Blue reflected all the skill gained by Gainsborough by that time: subtle execution with light strokes (the transition from skin to light translucent clothing is almost imperceptible), a harmonious combination of tones, the choice of a relaxed and free pose for the model, skillful depiction of fabric, skillful rendering lyrical mood and emphasizing the natural beauty of female youth. As the well-known researcher I. Dolgopolov writes in his book "Masters and Masterpieces", "in this pearl of Gainsborough's work, all his dreams of immediacy, freshness and the uniqueness of the primary sensation of nature seemed to converge." In the portrait of this woman, the artist showed the intensity of her inner life, the independence and originality of her character. There is a hypothesis that the model for the portrait was “the daughter of Admiral Boscawen, who in 1766 married the Duke de Beaufort and subsequently died at a ripe old age. the modesty of the image, the equanimity of the look, the refined restraint of the pose make the secular lady a poetic embodiment of youth and beauty" (a more detailed account of the portrait can be read here).
As far as I know, "Portrait of a Lady in Blue" is Gainsborough's only work in Russia, and it is in the Hermitage.

Gainsborough Thomas

The second great portrait painter of the 18th century. Gainsborough is characterized by a subtle sense of nature, musicality, attention to the spiritual world. He creates in his portraits a pronounced Anglo-Saxon type, in which he emphasizes spirituality, dreaminess, quiet thought. The light color scheme of gray-blue, greenish hues becomes distinctive for his painting.

Of great importance in the portraits of Gainsborough is the landscape. These are hills and valleys, powerful oaks of his native land. His models against the backdrop of the landscape are poetic, dreamy-thoughtful, spiritually subtle, they emphasize high intelligence. Gainsborough knows how to capture the fleeting, elusive, elusive to the naked eye, he gives a special fragility and grace to the always somewhat elongated female figures. And the park landscape in these portraits is as lyrical, gentle and refined as his models.

Gainsborough's painting is transparent, clean, fresh. Gainsborough went through a creative evolution from a somewhat scrupulous manner, close to the "small Dutch", to painting broad and free. Gainsborough's late canvases are woven from strokes of varying density and shape in blue-bluish, greenish, silvery tones, sometimes thickened, sometimes leaving the ground visible. Gainsborough's picturesque technique seems to have been specially created to convey damp air, in which the dense crowns of trees, the outlines of hills and cottages dissolve.

Portrait of Georgiana, Duchess of Devonshire

Georgiana, Duchess of Devonshire, was the great-granddaughter of Princess Diana, a lady of very free morals. Her beauty was admired, she was idolized, she was the fashion queen of England.

Interesting picture: the duchess came to life - hat, muslin dress, rose, ribbons.lace!...

Georgiana looks sad, as if waiting for something, skillfully painted a portrait of Gainsborough - the model is blooming!

I paid tribute to intrigues - and the world talked for a long time! And there were too many novels! - she is in her prime;

Gossip about infidelity: of the most famous people, they certainly noted that Gray was in their lovers!

And with great excitement, he daily discussed the light of her addiction to cards, condemned the duchess ...

We do not create an idol for ourselves - he is looking at us now - the Duchess of Devonshire with a secret gleam of brown eyes ...

Alley in St. Jay's Park

This is a park, along the alley of which luxuriously dressed, fashionable, beautiful and not very, young and not very, women and, of course, men walk. But still mostly women. Most likely, they came here to talk, to meet friends. Maybe someone came to see who is wearing what, what are the latest fashions? And someone to show themselves. News is shared here. Young people imperceptibly from their parents throw words of love. Those who are older look after future brides for their sons ... And as always - Gainsborough could not help but depict dogs next to people - small fashionable dogs frolicking next to their mistresses.

Church of St. Mary

A corner of old England - a Catholic church and an old Romanesque castle. This is indicated by the massive thick walls and towers of the castle, characteristic of the Romanesque era, the windows of the church, a quadrangular tower ending in a high spire with a cross at the end. Next to the church, as it should be, there is an old churchyard - ancient tombstones, monuments, rare parishioners who read old inscriptions, or who visited the old graves of distant deceased relatives. Behind the church and the castle, in the distance - the fields. Evening is coming, the sky is covered with dark disturbing clouds. The cemetery is hidden from the rays of the setting sun, and only a part of the old church, some houses of the townspeople are illuminated by their last light. The picture is painted in a mean range of brown and beige shades and creates a feeling of peace, stability and inviolability of the law - everyone has their place in the world - both among the living and the dead.

Road through the forest and a boy with a dog

Here the artist pays all his attention to the landscape, and the presence of man and animals is only slightly indicated. Before us is a winding road that goes down the slope somewhere. On the left is an old forest (Gainsborough liked to depict old trees, twisted by time, with broken branches). Ahead is a hilly panorama and the sky - with swirling clouds, with gathering clouds - soon it will rain. To the right is a small river. On a hillock, a tired boy lay down to rest, maybe have a bite, and, as always, a dog is nearby. On the way, a cow leaves. The landscape evokes a feeling of peace and tranquility.

John Plumpin (1755)

Gainsborough was able to phenomenally convey the resemblance to nature in the portrait, and he was able to use this for his material condition. It so happened that he was at the right time in the right place, namely, he moved to the resort town of Bath, teeming with rich and idle idlers. And of course they really wanted to perpetuate their person on the canvas. There were many orders. Here we have a portrait of such a rich secular rake. Walking through the park with a dog, he sat down on a tree trunk in a free, uninhibited pose. His young face expresses both confidence and a certain satiety with the pleasures that wealth offers him. The picture is painted in soft, pastel colors, like all Gainsborough paintings.

George and Louise Beam with their daughter Sarah

Before us is an aristocratic family - husband, wife and their daughter Sarah. They are walking in the park. George is telling his wife something enthusiastically, emphasizing his story with a gesture. The wife quietly, to herself, smiles a little, most likely, she has heard this story many times already. And the daughter rejoices that she, along with her parents, gently clings to her mother's skirt. These are beautiful, educated and well-mannered people, belong to the aristocratic society of London. It is felt that love, respect and harmony reign between them.

Gainsborough-DuPont (1770)

Before us is a portrait of a young man in a half-turn. A lush mane of hair, a young spiritual face, a smart, probing look. He kind of warns you that he is a man with character, But he himself is also interested - and who are you? If we assume, then most likely he is a creative person, maybe a musician.

Group portrait of the Marsham children (1787)

The portrait shows four children of the Marsham family, depicted in a relaxed atmosphere, in the park - three girls and a boy. The older girl supports the hem of her dress, and the boy picks nuts from a tree and throws them into her hem. A younger girl helps her hold the nuts. Another younger girl turned away, hugging the dog. Why did she turn away from the other children and not take part in the collection of nuts, perhaps she was offended by something? Next to her is another dog - dogs are always present in Gainsborough's paintings. The picture is full of serene charm: spiritually beautiful faces of children, lush nature, soft pastel colors, characteristic tones for the artist's canvases.

Peasant family near their house

It is known that Gainsborough wrote with the same interest and love both representatives of the high society of England and people from the people, the peasants. Looking at this picture, it involuntarily seems that this house is located in a dense dense forest and how can one live here? But look, a bright space is visible through the trunks of trees, which means that there is a village there. And here, among the old trees, twisted by time and winds, there is a small house, and next to it is a family - a father, a mother and small children, and a baby is in the arms of the mother. It is probably not easy for these people to live here, away from people, but for some reason I want to believe that they are surrounded by silence, birdsong, clean forest air, and most importantly, the beauty of this place!

Portrait of Mrs. Elizabeth Sheridan

Elizabeth Sheridan, nee Linley, had a beautiful voice. With her singing, she charmed the whole theatrical London. In addition, she possessed undoubted beauty, grace and charm. The French fell in love with her. R. B. Sheridan and the girl secretly run away with her beloved to France. Here Elizabeth is depicted as unmarried, young and frail, against the backdrop of a landscape. She is wearing a light pink dress. The portrait is very lyrical, bright.

Mr and Mrs Andrews (1750)

Sir Robert Andrews and Francis Carter were married in November 1748 and this portrait was painted to commemorate the event. A young couple is painted against the backdrop of a discreet landscape, their estate extends in the distance. It is a warm autumn day, the bread has been removed and already tied into sheaves. The husband and dog returned from hunting, they were met by a young wife, and they decided to rest near their estate. The young wife settled down on a bench, widely spreading out a light, fluffy, iridescent satin dress, from under which light shoes are visible. The expression on the wife's face is too strict, maybe she is not used to such responsibility at her 18 years old - being a wife and is afraid to look frivolous. even in front of the artist. Gainsborough's paintings are very characteristic of the union of man and nature. As a rule, people are usually present in his landscapes, and dogs are invariably present, emphasizing, as a rule, the status of a person. And here next to Robert is a thoroughbred hunting dog. The picture is full of subtle lyrical mood. The picture is painted in soft, pastel colors. It should still be said that at first the artist decided to write a pheasant feather in the hands of Lady Andrews. which the owner brought back from the hunt, and put the most bloody pheasant on a napkin, on Francis' expensive exquisite dress. By this, the artist transparently hinted at the bloodthirstiness of the ruling class. But still, Gainsborough did not dare to fulfill his plan.

Landscape with a returning herd

Gainsborough was very fond of depicting the rural landscape. And he always included people and animals in these modest plots. Here, too, a herd of well-fed cows, returning from a pasture, descends from a hillock. A shepherd with a dog and a woman, most likely the mistress of one of the cows, are sitting on the ground nearby. Perhaps she is interested in the behavior and well-being of her nurse. The autumn landscape is simple and unsophisticated, but very soulful, bright. The colors are warm. golden ocher.

Portrait of John Hayes Saint Lego (1782)

The young man galloped through the forest, stopped, jumped off his horse and admired nature. Or maybe he heard the birds singing? Or, perhaps, he is not alone, and in the distance he sees an Amazon on a beautiful horse lagging behind him and with a slight, barely noticeable half-smile, awaits the charmer? In any case, this is a gentleman, educated, well-dressed, not poor. His face is handsome, spiritual, there is no trace of arrogance, pomposity on it, but it is clear that he is very friendly and kind. The picture forces the viewer to come up with his own plot, but perhaps this is his task?

Portrait of the actress Sarah Siddons (1780)

Gainsborough portrayed the actress in a modern white and blue striped dress, an oversized feathered hat and a fur muff at her knees. Sarah Siddons looked briefly into the artist's studio and sat down to talk with him. The face of the actress did not differ in the subtlety of features, on the contrary, while working on the portrait, the painter grumbled: "Madame, your nose simply has no end." And yet, we have a proud attractive profile. The image of the actress conquers with the inner strength inherent in an outstanding personality.

Portrait of Anna Ford (Later Mrs. Tiknes) 1760

Singer Anna Ford was extremely talented: she was very musical, had a great voice, spoke five languages. She dreamed of becoming an actress, singing, but her father categorically forbade her to even hope for such a step. Then the girl fled to London, where she was very well received. When she was about to give her first concert, her father tried to disrupt the concert, even to dishonor her daughter. But he did not succeed, and Anna sang, the concert was a resounding success.

Portrait of Anne, Duchess of Cumberland and Stratham (1742)

From the darkness of the evening park, against the backdrop of massive marble columns, the majestic figure of a beautiful young woman in a rich dress with powdered hair emerges. She leaned lightly on the ledge of the column, on which a cloak with ermine trim was casually thrown, and next to it - an indispensable attribute of ducal power - the ducal crown with the family coat of arms. The artist is clearly fascinated by the young woman, he emphasizes her dignity of the duchess, devoid, however, of pomposity, stiffness, as well as undoubted femininity and delicate facial features.

Portrait of John Kilmory (1768)

John Kilmory - Earl, Viscount of the Irish Peerage. Against the background of the landscape, a middle-aged man, who seems to be as stocky as the tree behind him. He leans on a cane. Simple face, wig. A man does not look like a model of grace and charm, but he evokes a feeling of confidence, solidity, it is clear that a person knows his worth and his place in this life.

Portrait of Jonathan Buttol (1770)

This portrait is often referred to as "The Blue Boy". Against the backdrop of an alarming sky, a boy in a blue satin suit stands on the ground. In the gloomy evening air, he appears to us among the grasses and stones, like a vision illuminated by a strange light, like a blue shimmering radiance. He stands firmly, but it seems that at any moment he is ready to wave his hat and run, or jump on a horse and fly off into the distance. A fleeting light glides over the folds of the camisole. The boy is concentrated, but his gaze is directed, as it were, through us, further, beyond the horizon. The image is full of boyish mischief, grace and light purity.

Portrait of Elizabeth and Mary Linley (1772)

Before us are the Linley sisters - Elizabeth (sheridan in marriage) and Mary. Girls, as always, are depicted against the backdrop of nature. Their young faces attract with beauty and spirituality. It seems that the sisters are friendly with each other. The color of their dresses contrasts with each other - soft, orange for Mary and delicate blue-gray for Elizabeth. The picture evokes a feeling of tenderness, lyrical melancholy.

Portrait of the Duchess de Beaufort (1770)

Previously, the portrait was called "The Lady in Blue", because there are still disputes whether this is really the Duchess de Beaufort?

Before us is a beautiful young woman. Her eyes look at the world trustingly and simply, her mouth is childishly half-open in a half-smile. The movement of the graceful hand supporting the scarf is somewhat mannered.

In general, the artist draws the image of the duchess naturally and clearly. The picture literally glows with delicate, chilly shimmering colors. A satin scarf draped over a dress shimmers in blue tones, a ribbon on a small elegant hat and even powdered hair are cast in blue.

Portrait of Colonel John Bullock (1809)

This is a portrait of an English landowner, a member of the English Parliament, a war hero in the future.

The hero of the war that has ceased, the colonel from the old days,

And in your glorious days, the beginning takes away the memory, like a dream.

Let the war again, it cannot be otherwise, and a new battle that brings death.

And life's main task is to ride at full speed forward!

But it will be a little later, but now you're still alive,

Let only happiness dispel cruel sadness, dear hand.

After all, you don't live in vain. you did a lot. all that I could

And here you are next to an old vase, which is like the end of your days!

And the faithful dog will look up at you again

And in the midst of human madness, your eyes are looking at us!

You will die, but the portrait will be with us. where are you standing now

And in the heart will revive the memory of the days that disappeared far from the eyes.

And you are alive, brave colonel, for those. who sees your portrait.

Support of the throne and power. your trace is alive in history

(Dmitry Akhrimenko)

River landscape with figures in a boat

A corner of the forest, a river backwater, lush greenery, summer ... As always, people and animals are nearby - most likely a teenager pushes the boat away from the shore. The young people in the boat apparently decided to take a ride on the river. Nearby, cows came to drink. The openwork foliage looks like lace against the background of a pale, blue sky. Trunks of old trees tend to the ground. The day is warm and sunny. although here, among the trees, there is a shadow.

brushwood collectors

The artist tried to depict here a different life of the British, different from the aristocratic life. Three children from a poor family went to the forest for brushwood. The older girl is holding a small child in her arms. The boy, smaller than the girl, picked up a few twigs and sat down to rest. The children's clothes are poor, the boy's pants are full of holes. The dark sky, the dusk of the forest causes some anxiety for the children. But the picture is still clearly at odds with the reality of life. The beautiful faces of children evoke tenderness, but not pity, not sympathy. They are not exhausted, they are not tired. And if we dress them in other beautiful clothes, we will see that these children are no different from the children of aristocrats.

Morning walk (1785)

A walking couple appears before us as an example of marital harmony and fidelity. We seem to hear their leisurely conversation, the rustle of grass underfoot. Exquisite outfits, a white dog that needs attention - everything seems to be dissolved in the beautiful world around them. Deep feelings united Squire Hallet and his wife. The artist is pleased to present to the viewer an old park, beautiful young faces, their enjoyment of nature - he expresses all this in facial expressions, looks, in noble hand movements.

View near the village of Cornard

Very simple and very soulful landscape. Mounds overgrown with vegetation, old trees twisted by time, a small meandering river, a road that goes into the distance, to where the pre-stormy sky converges with the earth. The proximity to the village is indicated by cows, sheep that came to the watering place, a peasant with a donkey. It seems that this is a meeting place for local boys and girls. Here is a young man, perhaps a shepherd, sitting, waiting for his cows to get drunk. A girl is standing next to him, talking to him. Or maybe this is not a date, but the girl walked by and stopped to chat. A little further away - another couple - here the girl is sitting on the grass, slightly turning away from the young man with the donkey, but clearly listening to him. The whole picture is full of peace, silence ... Perhaps this is the calm before the storm? The sky is already very disturbing, the rain is about to pour, and isn't it time for everyone to quickly take cover? As always with Gainsborough, the calm, discreet coloring of the picture is sustained in soft, almost pastel colors.