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   Self-portrait of the artist sketching, pencil drawing by Thomas Gainsborough
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas GainsboroughLarger image
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas Gainsborough
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas Gainsborough
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas Gainsborough
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas Gainsborough
<i>Self-portrait of the artist sketching</i>, pencil drawing by Thomas Gainsborough
  Larger image
© 2006 The British Museum

About AD 1754-7
Britain

Gainsborough shows himself leaning against a tree, drawing from nature. He probably drew this in Ipswich, Suffolk, where he moved in 1752 to paint portraits of local sitters. He continued to prefer landscape painting throughout his life, but on their own landscapes were not considered suitably serious subjects.

Height: 359 mm; Width: 258 mm
The British Museum PD 1988,0305.59
British Museum: Self-portrait of the artist sketching, by Thomas Gainsborough
Thomas Gainsborough (AD 1727-1788)
Thomas Gainsborough (AD 1727-1788)
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Coats of arms and local identities
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Local artists
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Rural life in the late 19th century
Rural life in the late 19th century
Thomas Gainsborough (AD 1727-1788)

Gainsborough was born in Sudbury, Suffolk, one of nine children. He went to London in AD 1740, where he worked under the French illustrator and engraver Gravelot. He also copied and restored 17th-century Dutch landscape paintings for London dealers. The influence of Dutch painting can be seen in his own earliest landscapes of Suffolk.

Gainsborough worked in Sudbury and then Ipswich between 1748 and 1759. In about 1749 he painted Mr and Mrs Andrews, in which the young couple and the rural landscape are given equal weight. Local patronage was not enough, however, and in 1759 he moved to fashionable Bath. He quickly became sought-after and painted elegant full-length, life-size portraits of wealthy sitters set against romantic landscapes.

In 1774, Gainsborough moved to London, having been elected to the Royal Academy. He began a long rivalry with its President, Sir Joshua Reynolds. The Royal family preferred Gainsborough and he painted both George III and Queen Charlotte. He continued to paint expensive pictures of the famous, he also produced what Reynolds called his ‘fancy pictures’. These combined landscapes and pastoral scenes and looked forward to the poetry of Wordsworth’s Lyrical Ballads and the landscapes of another Suffolk painter, John Constable.

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