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Gainsborough & the theatre

Author: Thomas Gainsborough; Hugh Belsey; Susan Sloman; Holburne Museum,
Publisher: London : Philip Wilson Publishers, [2018] ©2018
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
Based on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727-88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quin, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists,  Read more...
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Genre/Form: Exhibition catalogs
Exhibitions
Named Person: Thomas Gainsborough; Thomas Gainsborough; Thomas Gainsborough; Thomas Gainsborough
Document Type: Book
All Authors / Contributors: Thomas Gainsborough; Hugh Belsey; Susan Sloman; Holburne Museum,
ISBN: 1781300666 9781781300664
OCLC Number: 1014140468
Notes: Catalog of an exhibition at The Holburne Museum, Bath, Enfgland, from October 5, 2018-January 20, 2019.
Description: vi, 104 pages : illustrations (chiefly color) ; 28 cm
Contents: Foreword / Chris Stephens --
Hainsborough and the theatre / Susan Sloman --
'English nature does not act much': Gainsborough, the theatre and nature / Susan Sloman --
Catalogue / Hugh Belsey.
Other Titles: Gainsborough & the theater
Gainsborough and the theatre
Gainsborough and the theater
Responsibility: Hugh Belsey, Susan Sloman.

Abstract:

Based on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727-88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quin, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists, dancers and composers. This publication firmly establishes the artist's place within the theatrical worlds of Bath and London and shows why the art of ballet, and in particular Gainsborough's sitters, rose to prominence in 1780 and examines parallels between Gainsborough's much admired painterly naturalism and the theatrical naturalism of Garrick and Siddons with whom he had personal friendships.

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