Thomas Gainsborough Quotes (1727-1788)

“I had the honour to be acquainted with that truly British genius at Bath, and have more than once sat by him of an evening and seen him make models - or rather thoughts - for landscape scenery on a little oldfashioned folding oak table, which stood under his kitchen dresser, such an one as I have often seen by the fireplace of a little clean, country ale-house. This table, held sacred for the purpose, he would order to be brought to his parlour, and thereon compose his designs. He would place cork or coal for his foregrounds; make middle grounds of sand and clay, bushes of mosses and lichens, and set up distant woods of broccoli.”

“Thus it is that the works of the English landscape painters, until within a few years, are worthy of the places to which they are usually consigned; to ascend from the drawing-rooms of the mansions where they once were placed, to the apartments of the servants.. ..Gainsborough's sketches improved the general taste for English landscape composition; he taught the artists and amateurs how to select, and those who, before the appearance of his rude oaks and deep-rutted lanes, his rustic figures and moss-grown cottages and beams, were content to amuse themselves by making landscape compositions from prints, now left their painting-rooms to explore the scenery of their own country and to work from nature.”

“A landscape of uncommon merit has been painted lately by Mr. Gainsborough. It is a picturesque scene, and although limited in extent of country is beautifully romantic. It contains a rustic history that cannot fail to impart delight to every beholder. Three peasant children are introduced; one of them, a young girl, has an infant brother in her arms; the other, a little boy of about six years, appears to have been engaged in the task of collecting the broken branches of trees for fire-wood; he is resting on a bank in conversation with his sister. A pastoral innocence and native sensibility give inexpressible beauty to these charming little objects. They cannot be viewed without the sensations of tenderness and pleasure, and an interest for their humble fate.”

“The calm of mid-day, the haze of twilight, the dew and pearls of morning are what we find in the pictures of this good, kindly, happy man.. ..as we look at them the tears spring to our eyes, and we know not whence they come. The solitary shepherd with his flock, the peasant returning from the wood with his bundle of faggots, the dark-some lane or dell, the sweet little cottage-girl at the spring with her pitcher, were the things which he delighted to paint, and which he painted with exquisite refinement, yet not refinement beyond nature.”

“Gainsborough was never in Italy, and to atone in some measure for the injury which that negligence might prove to him, he was in the habit of borrowing, and sometimes purchasing, works of that school as objects of study. One day, finding him attentively examining the fine picture of Mola that represents 'Jupiter and Leda' from which it was with difficulty he could be parted, we inquired what it was that so particularly caught his attention. 'It is this manner of painting' replied the modest artist 'which I shall never attain, for Mola appears to have made it his own by patent.'”

“He made his first essays in art by modelling figures of cows, horses, and dogs, in which he attained very great excellence. There is a cast in the plaister shops of an old horse that he modeled which has peculiar merit.”

“If you paint for the connoisseurs, never attempt at simple elegance, picturesque ideas of nature, brilliancy of colouring, or taste in the grouping of your figures. Leave all this nonsense to the man in Pall Mall [where Gainsborough lived], who is so cursedly obstinate that instead of seeking for a manner in the Old School and giving you Athenian Temples and Roman Ruins in English Landscape, he fills his canvas with unthatched cottages and their barelegged inhabitants. This is vulgar nature - pray avoid it.”

“..to which and succeeding excursions the public are indebted for the greater part of the sketches and more finished drawings from time to time produced by that whimsical, ingenious, but very deserving artist. Mr. Gainsborough painted during these years several landscapes of extraordinary merit that were mostly executed by candle light, to which he was much accustomed.”

“This eminent painter, whose contempt for the follies of mankind kept pace with his acute observation of them, was so disgusted at the blind preference paid to his powers of portraiture that for many years of his residence at Bath he regularly shut up all his landscapes in the back apartments of his house, to which no common visitors were admitted. The landscape that first found its way into any collection was purchased of him by the late Henry Hoare, Esq., of Stourhead, on a friend's recommendation! and so little even then was the merit of Gainsborough duly estimated that Mr. Bampfylde, a dilettante in painting, being on a visit to Stourhead, offered to mend Gainsborough's sheep by repainting them, and was allowed to do so. They have been restored to their original deficiencies by the taste and good sense of the present possessor of that beautiful place [Sir Richard Colt Hoare ]”

“Many of our landscape painters have made their pictures by a receipt. Never having lived out of the metropols or seen any green thing except a pickled cucumber in an oil shop, they form their ideas upon the style of the old Flemish masters.. .Very different was the conduct of Mr. Gainsborough when he painted his landscape. The woods of Suffolk were his Academy, the trees were his models.. ..the sunburnt inhabitants of his native village were the figures which he contemplated and copied. When he painted this picture painting: 'Cornard Wood' he was not twenty years of age, but at this early period he saw and imitated Nature as she is.. ..here we see a landscape in which every tree, every bough, one may almost say every leaf, is a portrait.. ..it has the force of a sketch. The forms of the trees, the bark, the exuberantly rich foreground, the woodmen and peasants, the two asses, are perfectly English, and prove that when Mr. Gainsborough painted cattle or figures he did not apply to prints from Berghem, Cuyp, or Paul Potter, but delineated them from the figures which he saw. The picture is placed too near the eye, in a more elevated situation the distant view of the village in the background would keep its proper distance.”

“It was said of him [Gainsborough] that he was self-educated.. .In this self-instruction there is undoubtedly an animation in the pursuit, and self-gratulation in the success, that is flattering. But if Gainsborough had had the good fortune, which the present students have, of being taught in an Academy, we should not now regret what was perhaps his greatest deficiency, a want of precision in the form of his objects.”

“This great painter was not only an enthusiastic lover of music, but a respectable performer on the harpsichord. I have frequently heard my father speak of his performance on this instrument in terms of great praise.”

“It is to Gainsborough's credit that he never attempted the so-called 'grand style' in painting as did Romney with such doubtful success; in that province Reynolds holds the highest rank of the artists of his day. Gainsborough in some respects was like a child; and this gives his character a certain attraction.”

“We have a painter here [in Bath ], who takes the most exact likenesses I ever saw. His painting is coarse and slight, but has ease and spirit. Lord Villiers sat to him before he left Bath, and I hope we shall be able to bring his picture to town with us, as it is he himself, and is preferable in my opinion to the finest unlike picture in the universe, though it might serve for a sign; he sate only twice. The painter's name is Gainsborough.”