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Art --- -Art --- -Art patronage --- -Artists and patrons --- -Art, English --- -English art --- Ancients (Group of artists) --- HobbypopMUSEUM (Group of artists) --- School of London (Group of artists) --- Shoreham Circle (Group of artists) --- Patrons and artists --- Art patrons --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Commissioning --- -History --- -Marketing --- History --- -Themes, motives --- Art patronage --- -Commissioning --- Art, English --- Artists and patrons --- English art --- Themes, motives --- Marketing --- Art, Primitive

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mecenaat --- geschiedenis --- kunsthandel --- Hogarth, William. --- Wright of Derby, Joseph. --- 18de eeuw. --- Groot-Brittannië.

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"I am sick of Portraits and wish very much to take up my Viol da Gamba and walk off to some sweet village when I can paint Landskips and enjoy the fag end of life in quietness and ease." Despite this famous protestation in a letter to his friend William Jackson, Thomas Gainsborough (1727-88) was clearly prepared to make an exception when it came to making portraits of his own family and himself. This book features over 50 portraits of himself, his wife, his daughters, other close relatives and his beloved dogs, Tristram and Fox. Spanning more than four decades, Gainsborough's family portraits chart the period from the mid-1740s, when he plied his trade in his native Suffolk, to his most successful latter years at his luxuriously appointed studio in London's West End. Alongside this story of a provincial 18th-century artist's rise to fame and fortune runs a more private narrative, about the role of portraiture in the promotion of family values, at a time when these were assuming a recognizably modern form.

family portraits --- Gainsborough, Thomas --- Portrait painting, British --- Painting, British --- Gainsborough, Thomas, --- Gainsborough family --- Family --- Painting --- familieportretten --- Portrait painting, British - 18th century - Exhibitions --- Painting, British - 18th century - Exhibitions --- Gainsborough, Thomas, - 1727-1788 - Exhibitions --- Gainsborough, Thomas, - 1727-1788 - Family - Exhibitions --- Gainsborough family - Portraits - Exhibitions --- Gainsborough, Thomas, - 1727-1788 --- familieportretten. --- Gainsborough, Thomas.

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Painting --- Museology --- Somerset House [London] --- Royal Academy of Arts [London] --- anno 1700-1799 --- anno 1800-1899 --- Somerset House (Londen) --- tentoonstellingen --- Royal Academy of Arts (Londen) --- 1780 - 1836 --- 18de eeuw --- 19de eeuw --- Groot-Brittannië --- Art --- Art, British --- Art and society --- CDL --- 069 --- Royal Academy of Arts (Great Britain) --- Somerset House (London, England) --- Academy of Arts, Royal --- Great Britain. --- Korolevskai︠a︡ akademii︠a︡ khudozhestv (Great Britain) --- London. --- R.A. (Royal Academy) --- RA --- Royal Academy (Great Britain) --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- 1780 - 1836. --- 18de eeuw. --- 19de eeuw. --- Groot-Brittannië.

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Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad.Fuseli’s contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puffed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist’s wife Sophia Rawlins, the women who populate Fuseli’s graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband.

Drawing --- drawings [visual works] --- fashion [concept] --- portraits --- women [female humans] --- Fuseli, Henry --- Women in art --- Drawing, Swiss --- Fashion in art --- Nude in art --- Fuseli, Henry - 1741-1825 --- vrouwen. --- mode. --- fantasieornament. --- seksualiteit. --- Fuseli, Henry. --- 18de eeuw. --- 19de eeuw. --- fashion [culture-related concept] --- vrouwen --- mode --- fantasieornament --- seksualiteit --- 18de eeuw --- 19de eeuw --- Gossaert, Jan. --- van Orley, Bernard. --- 15de eeuw. --- 16de eeuw. --- Nederlanden.