DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0320
276 THE GROSVENOR GALLERY.
CHALON (J. J.), R.A., living in 1843.
133 Cattle in a Landscape.
COPLEY (John Singleton), b. 1737; d. 1815.
134 Cromwell dissolving the Parliament in 1653.
135 The Landing of Charles II. in 1660.
COOPER (Abraham), R.A., living in 1843.
136 Cattle in a small Landscape.
GAINSBOROUGH (Thomas), b. 1727; d. 1788. [A painter of
portrait and landscape, of great ability, and of original but rather
unequal power. All his pictures here are of first-rate merit.]
137 The Blue Boy.—The portrait of a son of Mr. Buttall.
Full length, standing, in a blue satin dress. Landscape
background. After the death of this gentleman, it was pur-
chased by Mr. Nesbit, and was afterwards in the possession
of Mr. Hoppner, the painter, who sold it to Earl Grosvenor.
This celebrated picture owes its origin to a dispute
between Gainsborough and other artists. Gainsborough’s
object was practically to disprove the opinion of Sir Joshua
Reynolds, who thought that the predominance of blue in a
picture, was incompatible with a good effect of colour.
Gainsborough has certainly proved his assertion; and his
performance having excited great attention, and become a
general theme of praise with the artists of that day, tended
much to enhance the reputation he had already acquired.
The effect of the rich glowing background, with its broken
lights, is farther enhanced by the cold blue dress.
C. 5 ft. 10 in. by 4 ft.
138 Landscape.—The Cottage Door. To dwell upon the
beauty of this lovely picture, to point out the soft tran-
quillity of the sentiment, the shady retirement, the warmth
that seems to penetrate through the rich summer foliage,
and the rustic grace of the figures—“ such grace and such
elegance as are more frequently found in cottages than in
courts”—were, I hope, superfluous.*
* Standing between this Landscape and the “ Blue Boy,” I am tempted to
add a few sentences from Sir Joshua Reynolds’s critical discourse on Gains-
borough. He says truly that “ whether Gainsborough excelled most in por-
CHALON (J. J.), R.A., living in 1843.
133 Cattle in a Landscape.
COPLEY (John Singleton), b. 1737; d. 1815.
134 Cromwell dissolving the Parliament in 1653.
135 The Landing of Charles II. in 1660.
COOPER (Abraham), R.A., living in 1843.
136 Cattle in a small Landscape.
GAINSBOROUGH (Thomas), b. 1727; d. 1788. [A painter of
portrait and landscape, of great ability, and of original but rather
unequal power. All his pictures here are of first-rate merit.]
137 The Blue Boy.—The portrait of a son of Mr. Buttall.
Full length, standing, in a blue satin dress. Landscape
background. After the death of this gentleman, it was pur-
chased by Mr. Nesbit, and was afterwards in the possession
of Mr. Hoppner, the painter, who sold it to Earl Grosvenor.
This celebrated picture owes its origin to a dispute
between Gainsborough and other artists. Gainsborough’s
object was practically to disprove the opinion of Sir Joshua
Reynolds, who thought that the predominance of blue in a
picture, was incompatible with a good effect of colour.
Gainsborough has certainly proved his assertion; and his
performance having excited great attention, and become a
general theme of praise with the artists of that day, tended
much to enhance the reputation he had already acquired.
The effect of the rich glowing background, with its broken
lights, is farther enhanced by the cold blue dress.
C. 5 ft. 10 in. by 4 ft.
138 Landscape.—The Cottage Door. To dwell upon the
beauty of this lovely picture, to point out the soft tran-
quillity of the sentiment, the shady retirement, the warmth
that seems to penetrate through the rich summer foliage,
and the rustic grace of the figures—“ such grace and such
elegance as are more frequently found in cottages than in
courts”—were, I hope, superfluous.*
* Standing between this Landscape and the “ Blue Boy,” I am tempted to
add a few sentences from Sir Joshua Reynolds’s critical discourse on Gains-
borough. He says truly that “ whether Gainsborough excelled most in por-