Identifier: fairwomeninpaint00shar (find matches)
Title: Fair women in painting and poetry
Year: 1894 (1890s)
Authors: Sharp, William, 1855-1905
Subjects: Women in literature Women in art Women Beauty, Personal
Publisher: London : Seeley New York : Macmillan
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ting-room, says Sir William Beechey, and those who came to sit for theirportraits rarely deigned to honour them with a look as they passedalong. Gainsborough, in short, suffered the fate of most pioneers. Hewas the first English painter to reject all classic conventions, and franklyreproduce the beauty of his native land. Linitiateur en paysage, saysthe writer who has perhaps done more than any other towards therecognition of the English School in France, fut Gainsborough, quianima ses vues de la campagne anglaise par des scenes rustiques ou despaysanneries. Morland et Constable procedent de lui. Between thesemultitudinous rustic scenes it would be impossible to differentiate inthe text. The apparent theme is constantly repeated with but slight 1 Gainsborough painted a second picture of him in a landscape with his dog. THOMAS GAINSBOROUGH 49 variation, the true subject being the rendering of some effect of light,of clouds, of masses of foliage. The examples perhaps most-widely ■HHM;
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rp % &#* *& -- •M^ WsgrssvTV Drawing of a Man. known either by description or reproduction are the so-called CottageDoor, now in the collection of the Duke of Westminster ; the CottageGirl with her Bog and Pitcher; the two beautiful landscapes in the 5o THOMAS GAINSBOROUGH National Gallery known as Gainsboroughs Forest and The Market Cart;and The Girl with Pigs, a subject the artist repeated four times. Theoriginal, now in Lord Carlisles collection at Castle Howard, wasexhibited at the Royal Academy in 1782, and was bought by Reynolds forone hundred guineas, the price fixed by the painter being only sixty. TheShepherd Boy in a Shower, and its pendant, the Woodman in the Storm,should also be named. The beauties of the last we can now judge onlyby prints and copies. Remaining in the artists possession till his death,it was bought at his sale by Lord Gainsborough, and was destroyedwhen his house was burnt some years later. Two other landscapes areof interest, as being among the

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