Portrait of a lady in blue. Lady in blue
Thomas Gainsborough (1727 - 1788) - famous English portrait painter of the 18th century. One of the most poetic artists, the 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 THE LADY IN BLUE.
Painted around 1780, during the peak period of his artistic skill. Located in the State Hermitage Museum in St. Petersburg (the only work by the artist in Russian museums).
FACE IN PORTRAIT
According to some researchers, the portrait depicts the daughter of Admiral Boscawen, Elizabeth, the married Duchess of Beaufort, who should then be about 33 years old (born May 28, 1747). This version is not indisputable, but an alternative name for the painting with the French version of the title “Portrait of the Duchess de Beaufort” is often used in art criticism.
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 of 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.
Thin and delicate tints of blue color are marked by a satin scarf lying on top of 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 rather what the artist himself is looking for in her. The “Lady in Blue” has a dreamy look, a soft line of shoulders. Her thin neck seems unable to bear the weight of her hair, and her head bows slightly, like an exotic a 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 were not painted with a brush, but drawn with a soft pencil.
LAWSUIT BY THE HERMITAGE
In 2005, Iya Yots, the owner of the St. Petersburg designer clothing store Iya Yots, ordered a stylized one-color derivative work from the painting “Lady in Blue” from the graphic designer, but it was necessary to give portrait likeness with the customer's face.
Such work was carried out under a contract. Copies of the image were then used as decor at the entrance to the store and inside it, in the terms of the court order, “she began to use the image in order to create a favorable atmosphere in the room in which her collection is located.”
The trial proceeds with varying degrees of success. There is still no final decision.
The position of the Hermitage remains firm. According to a representative of the museum’s press service: “To use our image for some things (buildings, interiors or paintings), you must ask for permission from the Museum. This is the law"
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Face in a portrait
According to some researchers, the portrait depicts Admiral Boscawen's daughter Elizabeth, the married Duchess of Beaufort, who must then have been about 33 years old (born 28 May 1747). This version is not indisputable, however, an alternative name for the painting with the French version of the title “Portrait of the Duchess de Beaufort” is often used in art criticism. If this version is correct, then it is interesting to note that Elizabeth's mother Francis Boscawen She was also famous in her time: as one of the most active supporters of Lady Montague and a member of the Blue Stockings Circle.
As follows from the description in the inventory book of the State Hermitage, where the specified painting is listed under number 3509, the object is a canvas 76.5 × 63, which depicts the Duchess de Beaufort in a white dress and a light hat with ostrich feathers and blue ribbons on fluffed high hairstyle with powdered hair turned slightly to the left. Around her neck she wears a black ribbon tied in a bow under her chin, on which hangs a gold cross. With her right hand, wearing a bracelet decorated with a cameo, she holds a blue scarf on her chest. The image is chest-to-chest.
Artistic Features
The painting dates back to the height of Gainsborough's talent, when he created a number of poetic portraits of women in the style of 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. 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 and a soft line of shoulders. Her thin neck seems unable to bear the weight of her hair, and her head bends slightly, like an exotic 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 were not painted with a brush, but drawn with a soft pencil.
Acquisition history
The portrait was purchased from the previous owner by Jägermeister A. Z. Khitrovo (1848-1912) for his private collection of English portraiture. By the end of his life, Khitrovo owned a very significant collection of paintings for that time, among which were works by the outstanding English portrait painters Gainsborough, Romney, and Lawrence. In 1912, according to his will, the entire collection, including this portrait, was donated to the Hermitage, where the portrait is currently located (inventory No. 3509). This is the only thing famous work Gainsborough, located in Russia.
Legal action by the Hermitage
The position of the Hermitage remains firm. According to a representative of the museum press service: “ To use our image for some things (buildings, interiors or paintings), you must ask permission from the Museum. This is the law". Iya Yots continued to appeal this decision to higher authorities. At the first cassation hearing on September 19, 2013, the Intellectual Rights Court decided to cancel the previous decisions on the appeal and send the case for a new trial to the Court of Appeal of the Stavropol Territory.
On May 5, 2014, the Arbitration Court of the Stavropol Territory, after reconsidering the case, again made a decision to satisfy the Hermitage’s claims. The defendant's filing of appeals and cassations against this decision with higher authorities did not change the situation. On July 6, 2015, a judge of the Supreme Court of the Russian Federation issued a ruling refusing to transfer the cassation appeal (presentation) for consideration at a court hearing by the Judicial Collegium of the Armed Forces of the Russian Federation. The consideration of this case in the courts has been completed.
The norms of museum law sometimes come into conflict with the actions of individuals and legal entities, especially often in the era of development of digital copying and the Internet. The Lady in Blue trial, however, has some unique features. Unlike Bridgeman Art Library v. Corel (USA, 1999) or the National Portrait Gallery's claim against a Wikipedia member (UK, 2009), this process occurs in terms of brands (trademarks). The essence is the possession by Russian museums of all property and related rights to the public domain they store, including the rights to create any derivative works of any sufficient (in terms of trademarks) similarity. This makes the process interesting not only from a purely legal point of view.
See also
Notes
- Woman in Blue (undefined) .
- husband - Henry Somerset, 5th Duke of Beaufort
- Ionina N. A. Thomas Gainsborough "Portrait of the Duchess de Beaufort or Lady in Blue"// 100 great paintings. - M.: Veche, 2000. - ISBN 5783805793.
- Voronikhin L. N. State Hermitage Museum. - Ed. 2nd, rev. and additional - M.: Art, 1992.
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 interest in art early, he did not have to receive a systematic art education.
Once upon a time, the town of Sudbury was one of the centers of trade in wool and cloth. Not only spinning, weaving and dyeing flourished here, but also the finishing of finished goods. But by the time of T. Gainsborough's birth, Sudbury's heyday was already far behind.
During his school years, T. Gainsborough often begged the teacher to let him go from class. If this worked out, he ran to the outskirts of Sudbury, to the river or to the meadows - to draw. And there was not in the area such a picturesque group of trees (or even a solitary but beautifully standing tree), a green hedge, a ravine or a rock, even a roadside pillar at the turn of the path that would not be imprinted in his memory. Moreover, they were imprinted in such a way that young T. Gainsborough could sketch them by heart with every detail and accuracy.
He made himself an artist; he never had a chance to go through any serious art school, because he carefully studied all the necessary secrets and secrets of mastery in the works of his predecessors. T. Gainsborough acquired only some of his artistic skills during a short apprenticeship with the French engraver Gravello (who lived in England) and the prosperous portrait painter and decorator F. Hyman. At the age of twenty, he already began to work independently in his homeland, focusing mainly on landscape painting. All his life, T. Gainsborough considered himself primarily a landscape painter, and even his first portraits of friends and neighbors were painted by him in the lap of nature, which helped the artist to more fully 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 somehow varying their poses. The main charm of T. Gainsborough's portraits lies in the poetic disclosure inner world portraits, which is achieved by the artist through a purely pictorial solution - the beauty of color and free, light strokes, creating the impression of living and reverent life.
T. Gainsborough's talent and skill fully manifested themselves when the artist moved to Bath, a fashionable and wealthy Resort in the southwest of England, and then to London. Nobody bought landscapes from him, the English nobility of that time were not interested in nature and peasant life, and T. Gainsborough began to paint portraits. They did not bring him much wealth, but they put him on a par with the greatest painters of the world.
Such masterpieces include “Portrait of the Duchess de Beaufort” (“Lady in Blue”), painted in the late 1770s. In this canvas one can feel the influence of the portraits of Van Dyck, one of T. Gainsborough’s favorite artists. It was the portraits painted by Van Dyck (and also Rubens) that helped T. Gainsborough get away from some of the dryness and coherence inherent in his early works. The artist’s brush has become more confident and light, and “The Lady in Blue” attracts not so much with its external showiness, but with its poetic spirituality.
In this portrait, the viewer sees a young woman in a white open dress. Her powdered, slicked-up hair is styled in an elaborate updo and topped with a small hat with ostrich feathers and a blue ribbon. The curls go down to the shoulders, and on the thin neck there is a black ribbon, from the end of which hangs a golden cross. Moist lips are half-open, brown eyes under dark eyebrows are directed into space. A hand with a bracelet supports a blue scarf on the chest, slipping off the shoulders.
We know nothing about the woman who served as a model for Thomas Gainsborough. She may have been the daughter of Admiral Boscawen, who married the Duke de Beaufort in 1766 and subsequently died in old age. Only the portrait painted by T. Gainsborough allows us to get an impression of the lovely lady in her early years. The refined modesty of her image, the equanimity of her gaze, and the exquisite restraint of her pose make the society lady a poetic embodiment of youth and beauty.
A gliding dreamy gaze, 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, and this is what makes it especially alive and enchanting.
Where it was necessary to emphasize the characteristic, T. Gainsborough persistently enhances the expressiveness of the techniques, diversifying and complicating them. For example, the artist convincingly developed a careless gesture of a hand barely touching the fabric: its pink fingers, tapering at the ends, are ready to slip, as if unable to hold the tight folds of the scarf.
Blue, gray, pink and white tones imperceptibly transform into one another, without creating sharp contrasts for the viewer. The duchess's translucent dress merges with her skin, as if forming a single whole with her body. Grayish-white feathers, an azure ribbon on the hat and powdered hair create a kind of halo around the young face with its fresh blush. “Portrait of the Duchess de Beaufort” appears blue (hence its second title), as the light, shining colors with pearlescent reflections shimmer like water reflecting clouds.
The layer of T. Gainsborough's painting in this work is so thin that the weave of the canvas shines through it. His painting is built on the finest color relationships, and the master’s free, slightly impetuous technique gives the portrait a quivering breath. For example, wavy, sometimes crossing each other, but mostly parallel blue, black and gray strokes even allow you to feel the living structure of the hair under a coating of powder. They are slightly stretched over the forehead and temples, and on voluminous curls their natural elasticity is felt more strongly. The curls of ostrich feathers in contact with the hair (smaller than the hair) foam like surf water without breaking general form long curved feather.
T. Gainsborough painted the fabric of the dress with deliberately random strokes, but they convey the subtlety of the material, obediently following the outlines of the figure. The strokes of the thin brush were so flawless that they turned oil paint into some semblance of transparent flowing watercolor. A thick silk scarf is interpreted differently than a transparent dress: its thick folds puff up and bend, showing the crispness of the fabric.
In his book about the treasures of the Hermitage (this is where the “Portrait of the Duchess de Beaufort” is located), L.N. Voronikhin 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. Her thin neck seems unable to bear the weight of her hair, and her head bows slightly, like an exotic 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 were not made with a brush, but drawn with a soft pencil." When creating “Portrait of the Duchess de Beaufort,” T. Gainsborough painted her appearance with a gentle romantic haze and bright dreaminess. He, without specially trying to reveal the full depth human soul, created a truly great creation.
Thomas Gainsborough- famous English portrait and landscape painter. His creative nature began to manifest itself in early childhood, when he made his first attempts to sketch nature views 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, famous for his painting “The Capricious One”. In addition to him, Gainsborough imitated an equally popular artist of that time. Getting to know his work helped Thomas understand how important it is in painting to resemble the original and the ability to depict a character in a natural, everyday setting.
In 1745 the most early work author: portrait of a bull terrier against a landscape background. The then young master wrote a note on the canvas: "Remarkably smart dog".
Starting as a landscape painter, he finally moved on to portraiture. But in the 70s, the famous painting “The Boy in Blue” appeared, in which the artist managed to combine a landscape and a portrait of a boy in a blue suit.
Jonathan Buttall posed for the artist. Thomas was drawn to the teenager's nervous, pale face. In the painting, Gainsborough conveyed the melancholic mood of the young man against the backdrop of agitated nature. The portrait is made in blue and olive tones, which adds lightness and spirituality to the image of the hero.
Subsequently, the silver-blue color scheme became the painter’s favorite. Another well-known work is “The Lady in Blue.” Numerous shades of white, pearl, and blue create a sophisticated and noble image of a beautiful woman.
Like many other painting masterpieces, the portrait has its own secret: the name of the girl who posed for the master is still unknown. Researchers assumed that the mysterious beauty was the Duchess de Beaufort. But no reliable evidence was found for this hypothesis.
In addition to single portraits, Thomas Gainsborough painted group portraits. Often they look more like scenes from life, as if the artist, like a photographer, captured fragments of some situation, which then froze on canvas. His family portraits were especially successful. He was able to portray the special family relationships, warmth and intimacy that bind people.
An example is the sensual portrait of Squire Hallett and his wife, entitled "Morning Walk".
Poetry in the paintings of Thomas Gainsborough is one of distinctive features, connecting the painter with writers and poets. The realism of his canvases is softened by the harmony of light pastel colors.
Until the end of my life main love the artist's native land. Rural landscapes, lush green groves, fields turning yellow and shimmering in the wind - all this remained in the heart of Thomas Gainsborough and on his canvases.
Gainsborough Thomas
The second great portrait painter of the 18th century. Gainsborough is characterized by a subtle sense of nature, musicality, and attention to the spiritual world. He creates in his portraits a pronounced Anglo-Saxon type, in which he emphasizes spirituality, dreaminess, and quiet thoughtfulness. The light color scheme of gray-blue, greenish shades becomes distinctive for his painting.
Landscape is of great importance in Gainsborough's portraits. These are the hills and valleys, the mighty oaks of his native land. His models against the backdrop of a landscape are poetic, dreamy, thoughtful, spiritually subtle, and they emphasize high intelligence. Gainsborough knows how to capture the fleeting, elusive, elusive to the naked eye; he gives special fragility and grace to the always somewhat elongated female figures. And the park landscape in these portraits is as lyrical, gentle and sophisticated as his models.
Gainsborough's painting is transparent, clean, fresh. Gainsborough went through a creative evolution from a somewhat scrupulous manner, close to the “little Dutch,” to broad and free painting. Gainsborough's late canvases are woven from strokes of varying densities and shapes in blue-bluish, greenish, silvery tones, sometimes condensed, sometimes leaving the ground visible. Painting technique Gainsborough 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.
An interesting picture: the duchess came to life - hat, muslin dress, rose, ribbons, lace!...
Georgiana looks sadly, as if she is waiting for something, Gainsborough skillfully painted the portrait - the model is blooming!
She paid tribute to the affairs - and the world gossiped for a long time! And there were too many novels! - she is in her prime;
They gossiped about infidelity: among the most famous people they certainly noted that Gray was their lover!
And with even greater excitement, the world discussed her addiction to cards every day and condemned the duchess...
We don’t create an idol for ourselves - he is looking at us now - the Duchess of Devonshire with the secret sparkle of brown eyes...
Alley in St. Jay's Park
This is a park where luxuriously dressed, fashionable, beautiful and not so beautiful, young and not so young, women and, of course, men walk along the alley. But still, mostly women here. Most likely, they came here to socialize and meet friends. Maybe someone came to see who was wearing what, what the latest fashions were? And someone to show themselves. News is shared here. Young people exchange words of love unnoticed by their parents. Those who are older are looking for 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.
St. Mary's Church
A corner of old England - a Catholic church and an old castle in the Romanesque style. This is indicated by the massive thick walls and towers of the castle, characteristic of the Romanesque era, the windows of the church, and the 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 reading old inscriptions, or visiting the old graves of distant deceased relatives. Behind the church and the castle, in the distance are 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 part of the old church, some houses of the townspeople are illuminated by their last light. The picture is painted in a spare 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 the living and the dead.
Road through the forest and a boy with a dog
Here the artist devotes all his attention to the landscape, and only slightly outlined the presence of humans and animals. In front of us is a winding road going down the slope somewhere. On the left is an old forest (Gainsborough loved to depict old trees, warped by time, with broken branches). Ahead is a hilly panorama and a sky with swirling clouds, with clouds gathering - soon it will rain. On the right is a tiny river. On the hill, a tired boy lay down to rest, maybe have a snack, and next to him, as always, was a dog. A cow leaves along the road. The landscape evokes a feeling of peace and tranquility.
John Plumpin (1755)
Gainsborough knew how to phenomenally convey the resemblance to life in a portrait, and he was able to take advantage of this for his material condition. It so happened that he was in the right place at the right time, namely, he moved to the resort town of Bath, teeming with rich and idle loafers. And of course they really wanted to immortalize their person on canvas. There were a lot of orders. Here before us is a portrait of such a rich social rake. Walking through the park with his dog, he sat down against a tree trunk in a free, relaxed position. His young face expresses both confidence and a certain satiety with the pleasures that wealth offers him. The painting is painted in soft, pastel colors, like all Gainsborough's paintings.
George and Louise Beam with daughter Sarah
Before us is an aristocratic family - a husband, wife and their daughter Sarah. They are walking in the park. George enthusiastically tells his wife something, emphasizing his story with a gesture. The wife quietly, to herself, smiles slightly; most likely, she has heard this story many times already. And the daughter is glad that she is with her parents and affectionately clings to her mother’s skirt. These are beautiful, educated and well-mannered people who 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 half-turned portrait of a young man. A lush mane of hair, a young, spiritual face, an intelligent, searching gaze. He seems to warn you that he is a man with character, but he himself is interested - 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 the four children of the Marsham family, depicted in a relaxed atmosphere, in the park - three girls and a boy. The older girl holds up the hem of her dress, and the boy picks nuts from the tree and throws them into her hem. A younger girl helps her hold the nuts. The other younger girl turned away, hugging the dog. Why did she turn away from other children and not take part in collecting nuts, perhaps she was offended by something? Next to her is another dog - dogs are always present in Gainsborough's paintings. The painting is full of serene charm: the spiritualized beautiful faces of the children, lush nature, soft pastel colors, characteristic tones for the artist’s paintings.
Peasant family near their house
It is known that Gainsborough wrote with equal interest and love both representatives of the high society of England and people from the people, peasants. Looking at this picture, one can’t help but think that this house is located in a deep, dense forest and how can one live here? But look, you can see a bright space through the tree trunks, which means 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, mother and small children, with a baby in the mother’s arms. It’s probably not easy for these people to live here, far 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, née Linley, had a beautiful voice. With her singing she charmed the entire theatrical London. In addition, she had undeniable beauty, grace and charm. A Frenchman fell in love with her. R.B. Sheridan and the girl secretly run away with her lover to France. Here Elizabeth is depicted as yet unmarried, young and fragile, against the backdrop of a landscape. She is wearing a light airy pink dress. The portrait is very lyrical and 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 occasion. The young couple is painted against the backdrop of a discreet landscape, with their estate stretching in the distance. It’s a warm autumn day, the bread has been harvested and already tied into sheaves. The husband and the dog returned from hunting, they were met by his young wife, and they decided to relax not far from their estate. The young wife sat down on a bench, spreading out her light, fluffy, satin-shimmering dress, from under which her light-colored shoes were visible. The expression on the wife's face is too strict; perhaps she is not yet accustomed to such responsibility at the age of 18 - being a wife and is afraid to look frivolous. even if only in front of the artist. The unification of man and nature is very characteristic of Gainsborough's paintings. As a rule, people are usually present in his landscapes, and dogs are also invariably present, emphasizing, as a rule, the status of a person. And here next to Robert is a purebred hunting dog. The picture is full of a subtle lyrical mood. The picture is painted in soft, pastel colors. It should still be said that at first the artist decided to paint a pheasant feather in the hands of Lady Andrews. which the owner brought from the hunt, and put the bloodiest pheasant on a napkin, on Frances’s expensive, elegant dress. With this, the artist transparently hinted at the bloodthirstiness of the ruling class. But still, Gainsborough did not dare to carry out his plans.
Landscape with returning herd
Gainsborough was very fond of depicting rural landscapes. And he always included people and animals in these modest subjects. Here, too, a herd of well-fed cows, returning from the pasture, descends from the hillock. A shepherd with a dog and a woman, most likely the owner 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 sincere and bright. The colors are warm. golden ocher.
Portrait of John Hayes St. Lego (1782)
A young man was galloping through the forest, stopped, jumped off his horse and admired nature. Or maybe he listened to the singing of birds? Or, perhaps, he is not alone, and in the distance he sees an Amazon woman lagging behind him on a beautiful horse and with a light, barely noticeable half-smile, awaits the charming one? In any case, he is a gentleman, educated, well dressed, not poor. His face is handsome, spiritual, there is no trace of arrogance or pompousness 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 depicted the actress in a modern dress with white and blue stripes, a huge hat with feathers and a fur muff on her knees. Sarah Siddons seemed to briefly look into the artist’s studio and sat down to talk with him. The actress’s face was not distinguished by the subtlety of its features; on the contrary, while working on the portrait, the painter grumbled: “Madam, your nose simply has no end.” And yet, before us is a proud, attractive profile. The image of the actress captivates with the inner strength characteristic of an extraordinary personality.
Portrait of Anne Ford (Later Mrs Thicknes) 1760
Singer Anna Ford was extraordinarily talented: she was very musical, had a magnificent voice, and spoke five languages. She dreamed of becoming an actress and 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 disgrace his daughter. But he didn’t 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, stands the majestic figure of a beautiful young woman in a rich dress with a powdered hairstyle. She leaned lightly on the ledge of the column, on which a cloak with ermine trim was casually thrown, and next to it was 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 as a duchess, devoid, however, of pomposity, stiffness, as well as her undoubted femininity and delicate facial features.
Portrait of John Kilmory (1768)
John Kilmorey - Earl, Viscount of the Irish Peerage. Against the background of the landscape is a middle-aged man, seemingly as stocky as the tree behind him. He leans on a cane. Simple face, wig. The man does not look like a model of grace and charm, but he evokes a feeling of confidence, solidity; it is clear that the man knows his worth and his place in this life.
Portrait of Jonathan Buttall (1770)
This portrait is more often called "Blue Boy". Against the backdrop of an alarming sky, a boy in a satin blue suit stands on the ground. In the gloomy air of the evening he appears to us among the grass and stones, like a vision illuminated by a strange light, like a blue flickering 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 rush off into the distance. A fleeting light slides along the folds of the camisole. The boy is concentrated, but his gaze is directed as if through us, further, beyond the horizon. The image is full of boyish mischief, grace and bright purity.
Portrait of Elizabeth and Mary Linley (1772)
Before us are the Linley sisters - Elizabeth (married Sheridan) and Mary. The girls, as always, are depicted against the backdrop of nature. Their young faces attract with beauty and spirituality. It feels like the sisters are friendly with each other. The color of their dresses contrasts with each other - soft, orange for Mary and delicate gray-blue for Elizabeth. The picture evokes a feeling of tenderness and lyrical melancholy.
Portrait of the Duchess de Beaufort (1770)
Previously, the portrait was called “Lady in Blue”, since there is still debate about 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 paints the image of the Duchess naturally and clearly. The painting literally glows with delicate, coldly shimmering colors. The satin scarf draped over the dress shimmers with blue tones, the ribbon on the small elegant hat, and even the powdered hair shimmers in blue.
Portrait of Colonel John Bullock (1809)
This is a portrait of an English landowner, a member of the English Parliament, and a future war hero.
Hero of the war that has ended, a colonel from the old days,
And in your glorious days the beginning takes away your memory like a dream.
Let there be war again, it cannot be otherwise, and a new battle that brings death.
And the main task of life is to gallop forward at full speed!
But that will be a little later, but for now you’re still alive,
Let only happiness dispel cruel sadness, dear hand.
After all, you don’t live for nothing. you've done a lot. everything I could
And here you are next to an old vase, which seems to be the end of your days!
And the faithful dog will look up at you again
And in the midst of human madness, your eyes look at us!
You will die, but the portrait will be with us. where are you standing now,
And the memory of the days that hid far from sight will be revived in the heart.
And you are alive, brave colonel, for those. who sees your portrait.
Support of the throne and power. in history your trace is still alive1
(Dmitry Akhrimenko)
River landscape with figures in a boat
A corner of the forest, a river backwater, lush greenery, summer... As always, there are people and animals nearby - most likely a teenager is pushing a boat away from the shore with a pole. The young people in the boat apparently decided to take a ride along the river. Nearby, cows came to water. The lacy foliage looks like lace against the background of a pale, blue sky. The trunks of old trees bend to the ground. The day is warm and sunny. although here, among the trees, there is shade.
Brushwood Gatherers
The artist tried to depict here a different life of the British, different from the aristocratic life. Three children from a poor family went into the forest to get firewood. An older girl holds a small child in her arms. The boy, smaller than the girl, collected several twigs and sat down to rest. The children's clothes are poor, the boy's pants have holes. The dark sky and the twilight of the forest cause some concern 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 or sympathy. They are not exhausted, 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. It seems we can hear their leisurely conversation, the rustling of the grass under our feet. Exquisite outfits, a white dog demanding attention - everything seems to be dissolved in their surroundings wonderful world. Deep feelings united Squire Hallett and his wife. The artist takes pleasure in presenting to the viewer the ancient park, beautiful young faces, their enjoyment of nature - he expresses all this in facial expressions, glances, and noble hand movements.
View near the village of Cornard
A very simple and very soulful landscape. Mounds overgrown with vegetation, old trees twisted with time, a small winding river, a road going into the distance, to where the pre-storm sky meets the ground. The proximity to the village is indicated by cows, sheep coming to water, 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 drink. A girl stands nearby, talking to him. Or maybe it wasn’t a date, but the girl was walking by and stopped to chat. A little further away there is another couple - here the girl is sitting on the grass, slightly turned 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 very alarming, it’s about to rain, and isn’t it time for everyone to quickly take shelter? As always with Gainsborough, the calm, discreet coloring of the painting is done in soft, almost pastel colors.
