In the painting ‘Mr and Mrs Andrews’ by Thomas Gainsborough, what is the man carrying?
"Jupiter Artland, a nine metre tall cast iron and Corten steel shotgun leaning against a tree. Inspired by the painting ""Mr and Mrs Andrews"" by Thomas Gainsborough where Mr Andrews poses with a gun slung over his arm. The shotgun used in the piece is a facsimile of the one owned by Robert Wilson, one of the founders of Jupiter Artland. For the Folkestone Triennial in 2011, Parker created a Folkestone version of one of the popular tourist attractions in Copenhagen, ""Little Mermaid"". Through a process of open submission, Parker chose Georgina Baker, mother of two and Folkestone born and"
"Mr and Mrs Andrews Mr and Mrs Andrews is an oil on canvas portrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. Today it is one of his most famous works, but it remained in the family of the sitters until 1960 and was very little known before it appeared in an exhibition in Ipswich in 1927, after which it was regularly requested for other exhibitions in Britain and abroad, and praised by critics for its charm and freshness. By the post-war years its iconic status was established, and it was one of four paintings chosen"
"entirely finished apart from the reserved area discussed above. Mr and Mrs Andrews Mr and Mrs Andrews is an oil on canvas portrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. Today it is one of his most famous works, but it remained in the family of the sitters until 1960 and was very little known before it appeared in an exhibition in Ipswich in 1927, after which it was regularly requested for other exhibitions in Britain and abroad, and praised by critics for its charm and freshness. By the post-war years its iconic status was"
"the image are cited as further evidence, and Mrs Andrews' somewhat stiff seated position is said to express her inferior and passive status, as she is placed on display like other assets of her husband. Harsh things are said about the appearance and facial expressions of the two sitters, their dress and poses, and Mr Andrews carrying a gun. To some authors in this tradition, Gainsborough's intention in making the portrait was in part satirical, something most art historians are unlikely to agree with. In contrast, Andrew Graham-Dixon finds the painting ""in its quiet, understated way, one of the masterpieces"
"feet and Mr Andrews' with the tree roots, and ""the lines of gun, thighs, dog, calf, coat"". His hanging coat tail relates to the ribbon hanging from his wife's hat. After effectively being rediscovered in the 1927 Ipswich exhibition celebrating the bicentenary of Gainsborough's birth, the painting was exhibited in Brussels in 1929, London in 1930, London and Manchester in 1934, Amsterdam 1936, London in 1937, and at the Louvre in Paris in 1938. After World War II it was seen in Norwich in 1948, toured for the British Council in 1949–50, was in London at the Festival of Britain"
"of the country estate that had formed part of Mrs Andrews' dowry. Thomas Gainsborough was about twenty-three when he painted ""Mr and Mrs Andrews"" in 1750. He had married the pregnant Margaret Burr and returned to Sudbury, Suffolk, his home town as well as that of the Andrews, after an apprenticeship in London with the French artist Hubert-François Gravelot, from whom he learnt the French rococo style. There, he also picked up a love of landscapes in the Dutch style. However, landscape painting was far less prestigious and poorly paid compared to portraits and Gainsborough was forced (since the family"
"peasants riding inside a simple wagon through a rural landscape with a collection of nearby animals. A young boy leads the wagon, while a man helps lift a young woman aboard. The painting is set in the area around Gainsborough's adopted city of Bath, where he lived for 14 years of his life. In 1995 the two museums collaborated on a joint show that displayed the two versions side by side, first on display in England and then in Canada. The two paintings of a similar subject done some seventeen years apart show the evolution of Gainsborough as an artist."
"The Harvest Wagon The Harvest Wagon is the name of two paintings by the English artist Thomas Gainsborough. The first was done around 1767 and is today owned by the Barber Institute of Fine Arts, in Birmingham, England. The later painting was done around 1784 and is part of the collection of the Art Gallery of Ontario. The later painting is the better known of the two. It was donated to the Art Gallery of Ontario by Frank P Wood. It is one of the most prominent pieces in the collection of the AGO. Both paintings depict a group of"
"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."
"somewhat damaged during an attempted robbery when the thieves tried to cut the painting out of its frame. The Harvest Wagon The Harvest Wagon is the name of two paintings by the English artist Thomas Gainsborough. The first was done around 1767 and is today owned by the Barber Institute of Fine Arts, in Birmingham, England. The later painting was done around 1784 and is part of the collection of the Art Gallery of Ontario. The later painting is the better known of the two. It was donated to the Art Gallery of Ontario by Frank P Wood. It is"
"business, a clothiers' in Sudbury, had been bankrupted in 1733) to ""face paint"" as he put it. ""Mr and Mrs Andrews"" contains the widest landscape of Gainsborough's portraits, and he would not return to such compositions. Future paintings would be set against neutral or typical rococo settings. It has been speculated that Gainsborough wished to show off his landscape ability to potential clients, to satisfy his personal preference, or his sitters' wishes. The relatively small size of the painting, just high, is typical of both Gainsborough's portraits and landscapes at this early period. Later he painted larger portraits approximating life-size"
"greatly adds to the success of the painting. As with almost all artists of the period, it was not Gainsborough's practice to paint outdoors, and Mrs Andrews did not in reality have to walk in her silk clothes across the fields to pose, one of the aspects of the work commented on disapprovingly by some modern writers. Robert Andrews, the male sitter, was a member of the landed gentry, and this is very much apparent in Gainsborough's work. Although it is probable the family money came from being a landlord, Robert's father also lent substantial amounts of money, particularly to"
"Portrait of a Man Holding Gloves Portrait of a Man Holding Gloves is a 1648 oil on mahogany panel portrait by Rembrandt, now in the Metropolitan Museum of Art in New York. Its first recorded owner was Jacques I, Prince of Monaco. On 22 January 1812, it was sold from the collection of one ""monsieur de Séréville"" for 5,071 francs at the Paillet art dealer in Paris - the buyer was Lebrun, on behalf of Charles-Maurice de Talleyrand. Alexander Baring, 1st Baron Ashburton, bought it for £500 in 1831. It hung in the Baring family mansion of The Grange in"
"in rugged black shoes. In his left hand he wields a golden thurible, the smoke is represented by a swift upward wavy line that dissolves in spirals at the top. In his right hand he holds a black, bowl-like object, which might be a holy water vessel. The three figures approaching from the right, two men and a woman with slightly bowed heads, are carrying what might be palm branches. The two men are wearing similar hats and coats with wide revers, hung round the shoulders like capes. The long, unicolour coat, which is brown in the first man, gray-blue"
"dining table on heavy carved legs, suggesting an attempt to represent a communion table. Earl Henry is depicted in armour of conventional pattern except that the breast plate is made up of laminated plates. He wears a coronet and his head is supported on a tilt-heaume. He is wearing a chain nearly reaching his thighs, and the Order of the Garter is on the left leg. He holds a closed book in his right hand and a sword in his left. At his feet is a hornless unicorn. His wife, Margaret, also wears a coronet and is dressed in the"
"thought that this was an invention of Gainsborough's, drawing on his period with Gravelot. Gainsborough had painted (probably in London) Frances's parents in his ""Mr and Mrs Carter of Bullingdon House, Bulmer, Essex"" in about 1747–1748 (now Tate Britain). This painting makes an interesting comparison with that of the Andrews in many respects. Frances Jamineau, who became Mrs Carter, was of French parentage, and whether she and her husband were really as disproportionate in size as Gainsborough paints them is unknown. The neat parallel rows of corn produced by Jethro Tull's revolutionary and controversial seed drill show that this is"
"This is now in the Yale Center for British Art, who also own ""Major Dade in Shooting Dress"" (c. 1755), of another very relaxed Suffolk gentleman shooting on his farmland with two dogs and dead birds. The oak tree in front of which the Andrews stand has several connotations beyond the choice of location: Englishness, stability and continuity, and a sense of successive generations taking over the family business. The landed gentry had been compared to the oak, holding Britain together. The oak tree still survives, now considerably larger. An area on Mrs Andrews' lap is ""reserved"", that is to"
"charity which aims to buy and loans works of art to mainly UK based museums. The collection includes works by Thomas Gainsborough. He was appointed Commander of the Order of the British Empire (CBE) in the 2014 Birthday Honours for services to the arts, heritage, and health in Bath and South-West England. Married to Christina, Brownsword has two daughters and lives in the week in London, and at the weekend in their various homes in the West Country. Brownsword enjoys skiing and sailing. A methodist, having become heavily involved in The Prince's Trust, he is known to Prince Charles Brownsword"
"Humphrey Gainsborough Reverend Humphrey Gainsborough (1718 – 23 August 1776) was an English non-conformist minister, engineer, and inventor. Humphrey Gainsborough was pastor to the Independent Church in Henley-on-Thames, England. He was the brother of the artist Thomas Gainsborough. He invented the drill plough (1766), winning a prize of £60 from the Royal Society for his efforts. He also invented the tide mill (1761), which allowed a mill wheel to rotate in either direction, winning a £50 prize from the Society for the Encouragement of Arts in London. In addition, he designed a self-ventilating fish wagon (1762). Gainsborough designed Conway's Bridge,"
"Portrait of a Man with Arms Akimbo Portrait of a Man with Arms Akimbo, formerly known as Portrait of a Foreign Admiral or Portrait of a Dutch Admiral, is an oil painting portrait by Rembrandt signed and dated 1658. It is now in the collection of the Agnes Etherington Art Centre at Queen's University in Kingston, Ontario, and measures 107.4 cm by 87.0 cm. The painting was rediscovered in December 2009 after being off public display for around forty years. It was purchased by Steve Wynn at Christie's in December 2009 for £20 million, the highest price ever paid for"
"The painting is held in the Louvre. The Money Changer and His Wife The Money Changer and His Wife is a 1514 oil on panel painting by the Flemish renaissance artist Quentin Matsys. A man, who is weighing the jewels and pieces of gold on the table in front of him sits next to his wife who is reading a book of devotion with an illustration of the Virgin and Child. The couple is not dressed as members of nobility, but rather as well-to-do burghers of Antwerp, where the painting was made. At the time, Antwerp had grown with the"
"to pay off some of the estate's accumulated debt. Included in the current collection of paintings is Thomas Gainsborough's oil painting of his own family, ""Thomas Gainsborough, with His Wife and Elder Daughter, Mary"" (circa 1751–1752). Walpole's collection of marble Roman busts was also considerable. In the early 1990s, Hans Holbein's ""Lady With a Squirrel and a Starling"" (1528) was removed from the walls of Houghton where it had hung since 1780. It was put up for auction to raise money to pay inheritance taxes and for maintenance of the house and grounds; and eventually, negotiations led to the painting's"
"Similar designs are used on many people's front doors today. Philip Thicknesse wrote in ""The Gentleman's Magazine"" in 1785: Humphrey Gainsborough Reverend Humphrey Gainsborough (1718 – 23 August 1776) was an English non-conformist minister, engineer, and inventor. Humphrey Gainsborough was pastor to the Independent Church in Henley-on-Thames, England. He was the brother of the artist Thomas Gainsborough. He invented the drill plough (1766), winning a prize of £60 from the Royal Society for his efforts. He also invented the tide mill (1761), which allowed a mill wheel to rotate in either direction, winning a £50 prize from the Society for"
"a sergeant in a Highland Regiment, with redcoat, kilt, and feather bonnet. He sits with his legs crossed, and his hands clasped around one bare knee. He is turning away from the unhappy woman to his left - in cream dress and tartan shawl or blanket, and her parasol up - and towards the smiling woman to his right - in white and black striped dress, with shawl over her arm and parasol furled. This 1877 painting is a reworking of Tissot's 1876 painting ""On The Thames"", which depicts a man and two women reclining lazily aboard a boat moving"
"The Misanthrope (Bruegel) The Misanthrope is a tempera painting on canvas by the Flemish Renaissance artist Pieter Bruegel the Elder, created during 1568. It currently is held and exhibited at the National Museum of Capodimonte in Naples, Italy. The circular painting is encased in a square frame and depicts a black-robed, white-bearded elderly man clasping his hands before him. A smaller barefooted man behind him uses a knife to cut the strings to the elderly man's moneypouch. The elderly man appears so lost in thought that he notices neither the theft nor the thorns that lie in his path. A"
"amongst his favourites. Philip Mould lives with his wife Catherine and son Oliver at their house in Kensington, London and a seventeenth-century manor house in Oxfordshire close to Chipping Norton. Philip Mould Philip Jonathan Clifford Mould OBE (born 1960) is an English art dealer, writer and broadcaster. He has made a number of major art discoveries, including some of Thomas Gainsborough's earliest known works, the only known portrait of Arthur, Prince of Wales and a number of lost works by Sir Anthony Van Dyck. Mould is the author of two books on art discovery and is widely consulted by the"
"His Army. The subject is a youthful black man in fashionable street wear mounted on a rearing horse and pointing upwards. The man has tattoos on his right arm and is dressed in a camouflage shirt and cargo pants. He has a voluminous golden cloak and a saber attached at his waist. He also wears Timberland boots, Starter wristbands, and a white and black bandana. The painting has a decorative, Baroque motif that looks very much like wallpaper in the painting’s background but also interrupts the foreground a bit, as the motif is painted in front of some of the"
"and the woman in the centre-left background carrying a chicken. Behind them, the company's colours are carried by the ensign, Jan Visscher Cornelissen. The figures are almost life-size. Rembrandt has displayed the traditional emblem of the arquebusiers in a natural way, with the woman in the background carrying the main symbols. She is a kind of mascot herself; the claws of a dead chicken on her belt represent the ""clauweniers"" (arquebusiers), the pistol behind the chicken represents clover and she is holding the militia's goblet. The man in front of her is wearing a helmet with an oak leaf, a"
"intimate to the artist as the women in the wagon are portraits of Gainsborough's own daughters, Mary and Margaret. The first work could not find a buyer, perhaps being too ribald for the art market of the time. It was given to Gainsborough's friend Wiltshire, a mover who transported Gainsborough's paintings from Bath to exhibitions in London. Wiltshire's horses had also served as the model of the animals in the picture. The painting remained in Wiltshire's family until his grandson sold it in 1867. The second painting, done at the height of Gainsborough's fame, was sold to the Prince of"
"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"
"Gainsborough painting, commemorates the agreement between George Washington and King George III that created this part of the British Empire. The painting itself has become a symbol of national unity. While being displayed in the city of New Liverpool (formerly Los Angeles), the painting is stolen while a crowd is distracted by the murder of ""Honest"" Dick (a.k.a. ""Tricky"" Dick), the Steamer King, a nationally-known used car salesman. Colonel Thomas Bushell of the Royal American Mounted Police leads the search for the painting, accompanied by its former curator Dr. Kathleen Flannery and Captain Samuel Stanley. Some days later, a ransom"
"Man of Sorrows (Maarten van Heemskerck) The Man of Sorrows is a 1532 painting by the Dutch Golden Age painter Maarten van Heemskerck in the collection of the Museum of Fine Arts, Ghent. The subject depicts Christ after the crucifixion attended by angels, with wounds prominently displayed, wearing the crown of thorns and a loincloth. The loincloth is claimed to be wrapped around an erection, visible to some art historians but not others. Van Heemskerck is not the only Renaissance artist to depict Christ with an erection (""ostentatio genitalium""), which some scholars interpret as a symbol of his resurrection and"
"an aristocratic gentleman in a wide-brimmed Cavalier hat, teardrop earring, shimmering silver satin doublet, red breeches, and turned-down leather boots, apparently resting during a day of hunting. He is girt with a sword, with one hand resting nonchalantly on a walking stick; the other rests on his hip, holding his gloves as a sign of his sovereignty and assurance. The painting also shows a young page and Charles' picture-buying agent and favoured courtier, Endymion Porter, who is holding the horse. The horse seemingly bows its head in submission to the king. In his three years as Principal Painter in Ordinary,"