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Frances Jamineau, who became Mrs Carter, was of French parentage, and whether she and her husband were really as disproportionate in size as Gainsborough paints them is unknown. For them, the choice of Mrs Andrews' clothing is at odds with the natural scene, and inappropriate. Mr and Mrs Andrews is an oil on canvas portrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. This painting makes an interesting comparison with that of the Andrews in many respects. His father purchased him an estate, and secured a bride, in a successful attempt to integrate Robert into the upper classes. Philip Wilson Steer was a British painter of landscapes, seascapes plus portraits and figure studies. [34]. [8] [32] This was still below the $621,000 paid in 1921 by Henry Huntington to Joseph Duveen (about £148,000 at the time) for The Blue Boy , and seemed "cheap" to Gerald Reitlinger, writing in 1970, before art prices began to escalate to their present levels.

This means you might see personalised or targeted adverts while browsing other websites. Mr and Mrs Andrews contains the widest landscape of Gainsborough's portraits, and he would not return to such compositions. Frances wears an outfit which in fact is an informal summer suit (as we would now call it) with a separate skirt and jacket, not a dress, of a light blue similar to those that Gainsborough often gave his early female sitters, including her mother, and which may not represent any actual garment of that colour. in, Create

A brown brushstroke has suggested "a long-popular idea" that a cock pheasant was to be placed there, despite the painting probably (from the state of the corn) being set before the legal start of the pheasant season on September 1. Dimensions: 73 x 68 cm ... Mr and Mrs Andrews • 1750. Mrs. Sarah Siddons, the actress • 1785 A Woman in Blue (Portrait of the Duchess of Beaufort) • XVIII s. Voir toutes 179 œuvres d'art Marcus Gheeraerts was a Flemish artist working at the Tudor court, described as "the most important artist of quality to work in England in large-scale between Eworth and Van Dyck" He was brought to England as a child by his father Marcus Gheeraerts the Elder, also a painter. It was purchased with a "Special Grant from the Exchequer" and contributions from the Pilgrim Trust, The Art Fund, Associated Television Ltd, and Mr and Mrs W. W. Spooner. She is considered one of New Zealand's most prestigious and influential painters, although it is the work from her life in Europe, rather than her home country, on which her reputation rests.

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