MTU Cork Library Catalogue

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The paintings of Thomas Gainsborough / Malcolm Cormack.

By: Cormack, Malcolm.
Material type: materialTypeLabelBookPublisher: Cambridge : Cambridge University Press, 1991Description: 1 v. : col.ill., ports.ISBN: 0521388872 ; 0521382416 ).Subject(s): Gainsborough, Thomas, 1727-1788 | Painters -- England -- BiographyDDC classification: 759.2 GAI
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
General Lending MTU Crawford College of Art and Design Library Lending 759.2 GAI (Browse shelf(Opens below)) 1 Available 00060014
Total holds: 0

Enhanced descriptions from Syndetics:

This is a fresh introduction to the art of Thomas Gainsborough, who was one of England's greatest artists and the creator, with Joshua Reynolds, of an independent English school. Gainsborough has long been a popular and attractive figure in the history of English art, but this book shows that he was more than the well-known painter of The Blue Boy. His role as a prototype for the modern idea of the 'artist as romantic' is discussed, while his deep knowledge of the art of the past is revealed to demonstrate his eclectic yet individual reworking of older styles. Gainsborough's own personal style, based on the early eighteenth-century example of the French rococo, was developed by him into a highly imaginative art which - with his love of music - had analogies with musical improvisation.

Table of contents provided by Syndetics

  • Acknowledgements
  • Introduction
  • Plates with commentaries 1 û 75
  • Select Bibliography

Reviews provided by Syndetics

CHOICE Review

With few books currently in print on one of the late 18th century's most remarkable British painters, this short survey of Gainsborough's career is most welcome. Cormack, author of valuable studies on Turner, Constable and Bonington, presents an engaging picture of Gainsborough, the fashionable rococo portraitist who longed to devote more of his time to landscapes. A 30-page introduction considers the painter's life and art and is followed by 75 excellent, full-page color illustrations that each receive detailed, individual discussion. Cormack excels at perceptive analysis enhanced by familiarity with the latest scholarship. At the same time, some of Cormack's writing seems hurried and incomplete. Why is Gainsborough's interest in music not explored more fully and what are we to make of oblique references to his "dissoluteness"? And why must we be reminded three times in the introduction that Gainsborough participated in the founding of the Royal Academy? Nevertheless, public and lower-division undergraduate libraries without a good survey of Gainsborough's life and art, such as John Hayes Gainsborough (CH, Feb'76), can purchase Cormack's new book with confidence.-W. S. Rodner, Tidewater Community College

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