"the 9th Baron Ros, Margaret's mother, Lady Eleanor, married Edmund Beaufort, 2nd Duke of Somerset thus making Margaret a maternal half-sister of the Duke of Somerset. Sir Thomas and Margaret had the following children: Lord Thomas died on 18 March 1496. He was buried next to his wife, Margaret, in the family vault in Holy Trinity Church, Gainsborough. Thomas Burgh of Gainsborough Sir Thomas Burgh (pronounced: ""Borough""), KG (c. 1431 – 18 March 1496) was an English gentleman. In records, the peerage, and genealogy books he is shown as being created 1st Lord Burgh, of Gainsborough [England by writ] on"
"a key figure in importing Rococo taste in book illustrations and ornament prints for craftsmen to follow. In the modern popular mind, English art from about 1750–1790 — today referred to as the ""classical age"" of English painting — was dominated by Sir Joshua Reynolds (1723–1792), George Stubbs (1724–1806), Thomas Gainsborough (1727–1788) and Joseph Wright of Derby (1734–1797). At the time Reynolds was considered the dominant figure, Gainsborough was very highly reputed, but Stubbs was seen as a mere painter of animals and viewed as far a less significant figure than many other painters that are today little-known or forgotten."
"span the eighteenth to the twentieth century, enabling visitors to make connections between the past and the present. The Foundling Hospital Collection includes works of art by some of Britain's most prominent eighteenth-century artists: William Hogarth, Thomas Gainsborough, Joshua Reynolds, Louis-Francois Roubiliac and many others. These paintings and sculptures, donated by the artists themselves, were given in order to support the Foundling Hospital and effectively made the institution the UK's first public art gallery. The Museum's Collections also encompass everyday objects used in the Foundling Hospital and archival materials; books, documents and records, musical scores and librettos, photographs and oral"
"of the genres in which Hogarth worked was the conversation piece, a form in which certain of his contemporaries also excelled: Joseph Highmore (1692-1780), Francis Hayman (1708-1776), and Arthur Devis (1712–1787). Portraits were in England, as in Europe, the easiest and most profitable way for an artist to make a living, and the English tradition continued to show the relaxed elegance of the portrait-style traceable to Van Dyck. The leading portraitists are: Thomas Gainsborough (1727-1788); Sir Joshua Reynolds (1723-1792), founder of the Royal Academy of Arts; George Romney (1734-1802); Lemuel ""Francis"" Abbott (1760/61-1802); Richard Westall (1765-1836); Sir Thomas Lawrence (1769-1830);"
"success of Thomas Gainsborough, who only settled in London in 1773, after working in Ipswich and then Bath. While Reynolds' practice of aristocratic portraits seem exactly matched to his talents, Gainsborough, if not forced to follow the market for his work, might well have developed as a pure landscape painter, or a portraitist in the informal style of many of his portraits of his family. He continued to paint pure landscapes for, largely for pleasure until his later years; full recognition of his landscapes came only in the 20th century. His main influences were French in his portraits and Dutch"
"including Cheere and William Hogarth, or were involved in small-scale private art academies, such as the St Martin's Lane Academy. Although Cheere's attempt failed, the eventual charter, called an 'Instrument', used to establish the Royal Academy of Arts over a decade later was almost identical to that drawn up by Cheere and the RSA in 1755. The RSA also hosted the first ""exhibition of contemporary art"" in 1760. Thomas Gainsborough and Joshua Reynolds were among those who exhibited at this first exhibition, and were subsequently founder members of The Royal Academy of Arts in 1768. The Society was a pioneer"
"Victorian Nude"" exhibition in 2001–02, the high-profile restoration of his ""The Sirens and Ulysses"" in 2010 and a major retrospective of his work at the York Art Gallery in 2011–12 led to renewed interest in his work. In the late 18th and early 19th centuries, British painting was strongly influenced by Joshua Reynolds (1723–1792), the first president of the Royal Academy of Arts (RA). Reynolds believed the purpose of art was ""to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact"", and that artists should emulate Renaissance painters such as Rubens, Paolo Veronese"
"the Romantic poets, principally through Samuel Taylor Coleridge, William Wordsworth, Percy Bysshe Shelley, William Blake, John Keats, Lord Byron and Robert Burns. Their work ushered in a new era of poetry, characterised by vivid and colourful language, evocative of elevating ideas and themes. The paintings of Thomas Gainsborough, Sir Joshua Reynolds and the young J. M. W. Turner and John Constable illustrated the changing world of the Georgian period – as did the work of designers like Capability Brown, the landscape designer. Fine examples of distinctive Georgian architecture are Edinburgh's New Town, Georgian Dublin, Grainger Town in Newcastle upon Tyne,"
"Jane fostered foundling children. Hogarth also decided to set up a permanent art exhibition in the new buildings, encouraging other artists to produce work for the hospital. By creating a public attraction, Hogarth turned the Hospital into one of London's most fashionable charities as visitors flocked to view works of art and make donations. At this time, art galleries were unknown in Britain, and Hogarth's fundraising initiative is considered to have established Britain's first ever public art gallery. Several contemporary English artists adorned the walls of the hospital with their works, including Sir Joshua Reynolds, Thomas Gainsborough, Richard Wilson and"
"artists. While at Bath, largely for the first time, Gainsborough was able to see paintings by Van Dyck, Rubens and other Old Masters in the great collections at Wilton, Corsham Court or Longford Castle. In 1768, the Royal Academy was established in London, giving artists an official position in society. Gainsborough was a founder member while his rival, Sir Joshua Reynolds, was its first President. This may have encouraged Gainsborough in his decision to move to the capital in 1774. The artist's relationship with the Academy, however, was not easy and by 1783, he eventually stopped showing at its annual"
"catalogue for the 1761 exhibition which featured a frontispiece designed by William Hogarth depicting Britannia watering three trees marked Painting, Sculpture and Architecture. In 1765, the Society, then comprising 211 members, obtained a Royal Charter as the ""Incorporated Society of Artists of Great Britain"". Reynolds would later be a founder of the Royal Academy of Arts, after an unseemly leadership dispute between two leading architects, Sir William Chambers and James Paine had split the Society. Paine won, but Chambers used his strong connections with George III to create the new body – the Royal Academy of Arts was formally launched"
"beginnings of industrialisation. This was followed in the early years of the 19th century by serious social unrest (such as the revolt of the Luddites) caused by the economic changes it gave rise to and the anxieties that accompanied it. The Arts also flourished at this time, with tremendous output in all fields. In architecture Robert Adam, John Nash and James Wyatt were active, and the neo-gothic style emerged. In painting Thomas Gainsborough and Sir Joshua Reynolds were the great names, and new painters such as J. M. W. Turner and John Constable were gaining recognition. In literature too there"
"older U.S. artists such as Thomas Eakins, Mary Cassatt, John Singer Sargent, James McNeill Whistler, Winslow Homer, Childe Hassam, J. Alden Weir, Thomas Pollock Anshutz, and William Merritt Chase. However they were interested in creating new and more urbane works that reflected city life and a population that was more urban than rural in the U.S. as it entered the new century. From the late 19th to the early 20th centuries, the United States experienced enormous industrial, economic, social and cultural change. A continuous wave of European immigration and the rising potential for international trade brought increasing growth and prosperity"
"was an important writer who stimulated the popularity of amateur painting of the picturesque, while the works of Alexander Cozens recommended forming random ink blots into landscape compositions—even Constable tried this technique. History painting in the grand manner continued to be the most prestigious form of art, though not the easiest to sell, and Reynolds made several attempts at it, as unsuccessful as Hogarth's. The unheroic nature of modern dress was seen as a major obstacle in the depiction of contemporary scenes, and the Scottish gentleman-artist and art dealer Gavin Hamilton preferred classical scenes as well as painting some based"
"entrance to the art world for people who may not have been able to afford to buy a significant painting, but stimulated a growing market for prints. British painting had been strongly influenced by Joshua Reynolds (1723–1792), the first president of the Royal Academy of Arts, who believed that the purpose of art was ""to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact"", and that artists should aspire to emulate the Italian Renaissance painter Raphael in making their subjects appear as close to perfection as possible. By the time of Victoria's accession"
"and design of several other works by Reynolds. The allusion to the classical era is apparent in both the clothing worn by the two aristocrats, and their choice of weapon. a. However, the use of the bow for recreational use was, at the time, coming back into revival, and so this may not have been too uncommon when Reynolds created the work. Colonel Acland and Lord Sydney: The Archers Colonel Acland and Lord Sydney: The Archers is an oil-on-canvas painting by Sir Joshua Reynolds undertaken between 1769 and 1770. The artwork depicts the two aristocrats Colonel John Dyke Acland (1746–1778;"
"with artists popular in the UK, such as phonk rap (e.g. A$AP Rocky, Lil Uzi Vert, Chance the Rapper, Lil Skies) and alternative R&B (e.g. The Weeknd, Beyoncé, Janelle Monáe, SZA). The history of British visual art forms part of western art history. Major British artists include: the Romantics William Blake, John Constable, Samuel Palmer and J.M.W. Turner; the portrait painters Sir Joshua Reynolds and Lucian Freud; the landscape artists Thomas Gainsborough and L. S. Lowry; the pioneer of the Arts and Crafts Movement William Morris; the figurative painter Francis Bacon; the Pop artists Peter Blake, Richard Hamilton and David"
"on history painting, which was regarded as the highest of the hierarchy of genres, and is exemplified in the extraordinary work of Sir James Thornhill (1675/1676-1734). History painter Robert Streater (1621-1679) was highly thought of in his time. William Hogarth (1697-1764) reflected the burgeoning English middle-class temperament — English in habits, disposition, and temperament, as well as by birth. His satirical works, full of black humour, point out to contemporary society the deformities, weaknesses and vices of London life. Hogarth's influence can be found in the distinctively English satirical tradition continued by James Gillray (1756-1815), and George Cruikshank (1792-1878). One"
"viewed in the future as the Venetian William Hogarth, painting subjects and events of everyday life in Venice. Longhi's gallant interior scenes reflect the 18th century's turn towards the private and the bourgeois, and were extremely popular. Many of his paintings show Venetians at play, such as the depiction of the crowd of genteel citizens awkwardly gawking at a freakish Indian rhinoceros (see image). This painting, on display at the National Gallery in London, chronicles Clara the rhinoceros brought to Europe in 1741 by a Dutch sea captain and impresario from Leyden, Douvemont van der Meer. This rhinoceros was exhibited"
"W. Turner's death (1851). Other artists represented include Thomas Gainsborough, George Stubbs, Joseph Wright, John Constable, Joshua Reynolds, Thomas Lawrence, Robert Polhill Bevan, Stanley Spencer, Barbara Hepworth, and Ben Nicholson. The collection also has works by artists from Europe and North America who lived and worked in Britain. These include Hans Holbein, Peter Paul Rubens, Anthony van Dyck, Canaletto, Johann Zoffany, John Singleton Copley, Benjamin West, and James McNeill Whistler. Some areas of emphasis of the collection are small group portraits, known as ""conversation pieces"", including those by Hogarth, Gainsborough, Zoffany and Arthur Devis; landscape paintings by Gainsborough, Richard Wilson,"
"Jonathan Richardson Jonathan Richardson (London 12 January 1667 – 28 May 1745 London) sometimes called ""the Elder"" to distinguish him from his son (Jonathan Richardson the Younger) was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London. He was considered by some art-critics as one of the three foremost painters of his time. He was the master of Thomas Hudson and George Knapton. Richardson was even more influential as a writer; he is credited with inspiring Joshua Reynolds to paint and theorise with his book ""An Essay on the Theory of"
"he made from bark and from fungi. However, the majority of the dry colours used by Gardner he appears to have obtained from ""Messrs. Robertson & Miller, 51. Long Acre, London,"" as there are many allusions to their prices in his notebooks. Gardner hardly ever signed his works. As a result, his works were later, mainly in the 19th century, often attributed to his colleagues Joshua Reynolds or Thomas Gainsborough since they were better known within the general public. However, this does not come as a surprise if one takes into account that Gardner worked with both, Joshua Reynolds as"
"from the sixteenth century to the present day. Artists represented in the collection include John Constable, William Hogarth, Lucian Freud, Paul Nash, Barbara Hepworth, Michael Landy, Bridget Riley, Emma Kay and Zarina Bhimji amongst many other well known artists. The majority of the collection is on display in government buildings, with a small proportion at its premises in central London for conservation or awaiting re-display. Wherever possible, the GAC lends works of art to exhibitions in public museums and galleries throughout the UK and abroad. The GAC also collaborates with other departments, such as the Home Office and the Foreign"
"that both he and his students frequently returned to as a subject, and some historians are not entirely confident the painting was his even with the signature. The Gainsborough portrait, too, may in fact be the work of Joshua Reynolds, Gainsborough's rival, since its subject, Thomas Fletcher, is shown wearing a Madras regimental uniform, which he only started wearing in 1771, three years before his portrait was painted by Reynolds. In 1992, on the 20th anniversary of the theft, a Radio-Canada story reported that the insurance companies now considered the paintings' value to have appreciated to $20 million. They had"
"Mr and Mrs William Hallett Mr and Mrs William Hallett is a 1785 painting by Thomas Gainsborough in the collection of the National Gallery, London (NG 6209). It is popularly known as The Morning Walk. The painting was attacked by a man with a sharp object on 18 March 2017. Gainsborough painted the work in the summer of 1785, shortly before the marriage of the subjects, WIlliam Hallett (1764-1842) and Elizabeth Stephen (1763/4-1833) then both aged 21. After Mrs Hallett's death the painting was offered for sale at Foster's in 1834, though it remained unsold. Later the ownership was disputed."
"following the death of his father in 1748 and before his move to Ipswich. The original building still survives and is now a house dedicated to his life and art. When he was still a boy he impressed his father with his drawing and painting skills, and he almost certainly had painted heads and small landscapes by the time he was ten years old, including a miniature self-portrait. Gainsborough was allowed to leave home in 1740 to study art in London, where he trained under engraver Hubert Gravelot but became associated with William Hogarth and his school. He assisted Francis"
"eight paintings - eleven plates of 130 × 200 cm (50 x 80 inches) accompanied as by Hogarth of a series of copper engravings reproducing the same themes. A Rake's Progress A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–34, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence"
"Johann Joachim Winckelmann to characterize the art of the Carracci, who incorporated in their paintings elements from the Renaissance and classical traditions. Indeed, Agostino, Annibale and Lodovico Carracci had tried to combine in their art Michelangelo's line, Titian's color, Correggio's chiaroscuro, and Raphael's symmetry and grace. In the 18th century, Sir Joshua Reynolds, head of the Royal Academy of Arts in London, was one of the most influential advocates of eclecticism. In the sixth of his famous academical ""Discourses"" (1774), he wrote that the painter may use the work of the ancients as a ""magazine of common property, always open"
"British artists are well represented. John Constable and J. M. W. Turner are represented by oil paintings, water colours and drawings. One of the most unusual objects on display is Thomas Gainsborough's experimental showbox with its back-lit landscapes, which he painted on glass, which allowed them to be changed like slides. Other landscape painters with works on display include Philip James de Loutherbourg, Peter De Wint and John Ward. In 1857 John Sheepshanks donated 233 paintings, mainly by contemporary British artists, and a similar number of drawings to the museum with the intention of forming a 'A National Gallery of"
"Four Times of the Day Four Times of the Day is a series of four oil paintings by English artist William Hogarth. Completed in 1736, they were reproduced as a series of four engravings published in 1738. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as ""A Harlot's Progress"", ""A Rake's Progress"", ""Industry and Idleness"", and ""The Four Stages of Cruelty"", it does not depict the story of an individual, but instead focuses on the society of the"
"were between the Victorian era, with its strict classicism, and Modernism, with its strident rejection of pure aestheticism. Edward Thomas (1878–1917) is sometimes treated as another Georgian poet. Thomas enlisted in 1915 and is one of the First World War poets along with Wilfred Owen (1893–1918), Rupert Brooke (1887–1915), Isaac Rosenberg (1890–1917), Edmund Blunden (1896–1974) and Siegfried Sassoon (1886–1967). Irish playwrights George Bernard Shaw (1856–1950) and J.M. Synge (1871–1909) were influential in British drama. Shaw's career began in the last decade of the 19th century, while Synge's plays belong to the first decade of the 20th century. Synge's most famous"
"The Age of Innocence (painting) The Age of Innocence is an oil on canvas painting by Sir Joshua Reynolds, created in either 1785 or 1788 and measuring 765 x 638 mm. The sitter is unknown, but possibly, was Reynolds's great-niece, Theophila Gwatkin (who was three in 1785 and six in 1788), or Lady Anne Spencer (1773–1865), the youngest daughter of the 4th Duke of Marlborough, who would have been twelve in 1785 and fifteen in 1788. The painting was presented to the National Gallery in 1847 by Robert Vernon and has hung in the Tate since 1951. The painting is"
"abandoned and orphaned children. It was established under royal charter by King George II and was supported by many noted figures of the day in high society and the arts. The portrait painter and cartoonist William Hogarth was a founding governor, and thanks to his influence, the Foundling Hospital grew to become a very fashionable charity, counting among its benefactors a number of renowned artists. Under Hogarth's direction, artists such as William Hogarth, Joshua Reynolds, Allan Ramsay and Thomas Gainsborough exhibited paintings at the Hospital, creating what is thought to be Britain's first public art gallery. The composer George Frederic"