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<a href="http://www.accessmylibrary.com/coms2/summary_0286-22446464_ITM" title="Facts and information about The lure of likeness in Gainsborough's portraits.">The lure of likeness in Gainsborough's portraits.</a>
The lure of likeness in Gainsborough's portraits.
The Magazine Antiques
|
February 01, 2003 |
Tschenry, Nadia |
COPYRIGHT 2003 Brant Publications, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright
Thomas Gainsborough's artistic reputation has fluctuated widely in the more than two centuries since his death, and each of the genres he practiced--portrait, landscape, and fancy picture (1)--has at one time or another been favored. Even within one genre, most notably portraiture, appraisals of Gainsborough's work by collectors, artists, and connoisseurs have varied markedly within short periods of time. In the years around 1900, with late Victorian taste still dominant, his portraits were prized for their evocation of a lost aristocratic world of elegant ladies, privileged children, and leisured gentlemen. The purchase in 1921 of his Jonathan Buttall: The blue Boy (Pl. ...
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Source: HighBeam Research, The lure of likeness in Gainsborough's portraits.