The art of painting in the nineteenth century . of age,and remained to the end of his life the leaderand backbone of the official school of was also an author, and knew how to enforcehis artistic convictions with vigorous speech. Unlike Reynolds, Thomas Gainsborough (1727-1788) preserved through life a position of inde-pendence. The stamp of officialism was neverplaced on his work; and not rarely did he paintwith the avowed purpose of contravening adictum of the Royal Academy. His famous Blue Boy owes its origin to his desire of show-ing that blue could be made the leading color of
The art of painting in the nineteenth century . of age,and remained to the end of his life the leaderand backbone of the official school of was also an author, and knew how to enforcehis artistic convictions with vigorous speech. Unlike Reynolds, Thomas Gainsborough (1727-1788) preserved through life a position of inde-pendence. The stamp of officialism was neverplaced on his work; and not rarely did he paintwith the avowed purpose of contravening adictum of the Royal Academy. His famous Blue Boy owes its origin to his desire of show-ing that blue could be made the leading color ofa composition. In the execution of this picture,however, blue is in reality a very subordinatecolor, since the texture of the cloth, which thespectator understands to be blue, shimmers in avariety of hues under the peculiar light which isshed about the figure. Quoting often a famous expression of Knellerto the effect that pictures are not made to besmelled at, Gainsborough introduced a feathery,volatile application of color which gives to his. Thomas Gainsborough The Blue Bov BRITISH PAINTING 67 compositions both distinction and also disguises a somewhat uncertain touch ofdrawing, — uncertain, however, only in the sensein which the outlines of a cloud are uncertain,because human eyes are rarely quick enough tocatch them distinctly. He painted landscapes comparatively rarely,but here also he showed himself a master. Lestthis additional accomplishment of his be con-strued into a claim to superiority over Rey-nolds, it must be remembered that this latterartist was his undoubted superior as a portrayerof children. Did these two masters equal the greatestportrait painters of earlier centuries ? ProfessorGensel asks and significantly replies that thisquestion may well remain an open one. Thefact is, he adds, that we experience before theirpictures that pleasure which leaves no room forfurther desires. Reynolds Nelly OBrien, withher bewitching smile and her mystery
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Keywords: ., bookcentury1900, bookdecade1900, bookidartofpaintin, bookyear1908
