An image of the framed, self-portrait of Thomas Gainsborough in the Gainsborough Gallery.
An image of Thomas Gainsborough's Self-portrait (c. 1759). On loan from the National Portrait Gallery, 2022.

Thomas Gainsborough (1727–88) was one of the most fashionable portrait painters of his day and a pioneer of British landscape painting.

Born in the rural town of Sudbury, Suffolk, he spent his childhood sketching in the surrounding countryside, which instilled in him a life-long passion for depicting nature. At thirteen he was sent to London to become a professional artist, studying under the French designer Hubert-François Gravelot and the painter Francis Hayman. After several years in London, he moved back to Suffolk to work as a portrait painter, first in Sudbury and then the larger town of Ipswich. However, Gainsborough’s true passion was always for the genre of landscape, which he often introduced into his portraits, and he painted romantic, mostly imaginary depictions of rural landscape throughout his career. It was through his landscapes that he proved himself to be a highly original and independent artist.  

In 1759 Gainsborough decided to move his wife and two young daughters to Bath, in search of a wealthier clientele. His success was rapid and coincided with the emergence of public forums for art, most crucially the Royal Academy’s annual exhibition in London, where he exhibited just over a hundred of his portraits, landscapes and ‘fancy pictures’. Gainsborough was a founding member of the Royal Academy. In 1774, after more than a decade in Bath, Gainsborough moved permanently back to London and became a favourite painter of King George III and his family. He died in 1788 at the age of 61 and is buried at Kew Churchyard. 

Paintings

Gainsborough’s achievements as a portrait painter are recorded through several head-and-shoulder portraits and outdoor conversation pieces from his early Suffolk period; images of aristocratic patrons in their finery from his Bath period; and large-scale portraits produced at the height of his career in London.  

His work in landscape painting is represented by three early compositions inspired by the seventeenth-century Dutch tradition; one of his late ‘cottage door’ scenes that he exhibited to great acclaim at the Royal Academy in 1782; and one of the romantic, mountainous landscapes that he was painting after visiting the Lake District in 1783. An unfinished painting of gypsies sheltering in the ruins of an abbey, which remained in Gainsborough studio at his death, is an example of the ‘fancy pictures’ that he produced in his later years.

Prints & Drawings

Gainsborough was a compulsive and experimental draughtsman. Most of the drawings by Gainsborough in the collection are imagined landscapes, quickly rendered in graphite, chalk and ink washes, the sort that Gainsborough produced hundreds of throughout his career. The collection also includes studies of flora and fauna, several portrait studies, composition studies for paintings such as The Harvest Wagon, and the large, highly finished drawing known as Peasants Going to Market 

Whilst only 22 prints by Gainsborough have been identified in total, he is nonetheless considered to be one of the greatest of British printmakers. He was one of the first to experiment with the techniques of soft-ground etching and aquatint and Gainsborough’s House has several of his prints in its collection.

Artefacts

Gainsborough’s House looks after several of Gainsborough’s personal possessions. Most significantly, the artist’s mahogany studio cabinet, complete with its original slate slab for grinding colours and a large drawer to store sheets of paper. Other personal effects include Gainsborough’s swordstick, snuffbox, paint scraper and mourning rings. 

Archive

The collection includes over a dozen of Gainsborough’s letters and receipts for his paintings, as well as a significant collection of books, newspapers and manuscripts dating from Gainsborough’s lifetime. 

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