Thomas Gainsborough, R. A.;
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Ouless, R.A., and Sir George Reid. "The Reynolds- Gainsborough style was based essentially on a tradition drawn from Van Dyck, and was pictorial first and realistic only in a very secondary sense. Every portrait, that is to say, was studied as a picture in a rich but quiet harmony of colour, and was before everything beautiful as a work of art. Detail, either of features or dress, was not insisted on; the features were shown under an even light without strong shadows, and the effort was rather ...to generalise than to accentuate characteristic points; in the dress, the matter-of-fact forms of the modiste were often transformed, into draperies as ideal as those of the Greek sculptor. '\ In a word, while the artist recognised the claims of the facts before him to adequate portrayal, he endeavoured to 148 Modern Portraiture fuse all the elements of the piece into one lovely artistic unity, and in so doing secured in his work the pre- dominant quality of 'breadth.' This 'broad' style, maintained also by Raeburn and Romney, was handed on to painters of less power, and died out in the first half of the nineteenth century in attenuated productions in which harmony became emptiness.
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To quickly assess the difficulty of the text, read a short excerpt:
Ouless, R.A., and Sir George Reid. "The Reynolds- Gainsborough style was based essentially on a tradition drawn from Van Dyck, and was pictorial first and realistic only in a very secondary sense. Every portrait, that is to say, was studied as a picture in a rich but quiet harmony of colour, and was before everything beautiful as a work of art. Detail, either of features or dress, was not insisted on; the features were shown under an even light without strong shadows, and the effort was rather ...to generalise than to accentuate characteristic points; in the dress, the matter-of-fact forms of the modiste were often transformed, into draperies as ideal as those of the Greek sculptor. '\ In a word, while the artist recognised the claims of the facts before him to adequate portrayal, he endeavoured to 148 Modern Portraiture fuse all the elements of the piece into one lovely artistic unity, and in so doing secured in his work the pre- dominant quality of 'breadth.' This 'broad' style, maintained also by Raeburn and Romney, was handed on to painters of less power, and died out in the first half of the nineteenth century in attenuated productions in which harmony became emptiness.
What to read after Thomas Gainsborough, R. A.;?
You can find similar books in the "Read Also" column, or choose other free books by Alfred Ewen Fletcher to read onlineMoreLess
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