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Gainsborough's Family Album (Hardcover)
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Gainsborough's Family Album (Hardcover)
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Despite this famous protestation in a letter to his friend William
Jackson, Gainsborough was clearly prepared to make an exception
when it came to making portraits of his own family and himself.
This book, and the major exhibition it accompanies, features a
dozen portraits of his daughters Mary and Margaret, the same number
of himself and his wife Margaret (though, perhaps tellingly, only
one of the couple together), as well as works depicting four of his
five siblings, his handsome nephew Gainsborough Dupont (who became
his studio assistant) , an aunt and uncle, several in - laws and -
last, but not least - 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 , through his time in Bath ( 1758 - 74 ), when he
established hi mself with a rich and fashionable clientele , to his
most successful latter years at his luxuriously appointed studio in
London's We st End. Alongside this story of a provincial 18th -
century artist's rise to fame and fortune runs a more private
narrative, ab out the role of portraiture in the promotion of
family values, at a time when these were assuming a recogni s ably
modern form. In the first of three introductory essays, David H.
Solkin writes on Gainsborough himself, placing his family portraits
in the context of earlier practice - including that of the Flemish
master Peter Paul Rubens and British portraitists from Mary Beale
to Joseph Highmore . Ann Bermingham explores Gainsborough's
portraits of his daughters, with particular reference to two
finished double portraits painted seven years apart and the tragic
story arising from them. Susan Sloman discusses Margaret's role as
her husband's business manager, its effect on the family dynamic
and hence the visual representation of its members.
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