DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0412
386
OLD WORLD MASTERS
to Reynolds, was one of the many things that provoked his dictum,
Gainsborough replying, if he took the trouble to reply at all, with
the Mrs. Siddons and those other portraits, painted in the last ten
years of his life, in which blue, canary yellow, and other cool tints are
made the centres of the color scheme.”
But tall and Gainsborough continued their relations. Buttall was
one of the “few friends Gainsborough respected and whom he desired
should attend his funeral at Kew. Buttall outlived Gainsborough
seventeen years and died in December, 1805, as the Morning Herald
notes: “Died, on Friday last, at his house in Oxford Street, Jonathan
Buttall, Esq., a gentleman whose amiable manners and good disposi-
tion will cause him to be ever regretted by his friends.”
GENERAL PHILIP HONYWOOD.
Thomas Gainsborough
{1727-1788').
Collection of
Mr. John Ringling.
When Gainsborough exhibited this portrait in London in 1765 it
created quite a stir, as it was a departure from the style of any por-
trait by that artist; and when it was sent home to Mark Hall, the seat
of the Honywood family in Essex, a new room had to be built in order
to accommodate it, as the canvas measures nearly ten feet square
(96^ x 82%).
This has the reputation of being the finest equestrian portrait ever
painted by Gainsborough. Fulcher writes of it:
“Never was the amenity of landscape more happily displayed.
Through a richly wooded scene wherein the sturdy oak and silvery-
barked birch are conspicuous, the soldier, mounted on a bay horse,
appears to be passing, wearing a scarlet dress which contrasts finely
with the mass of surrounding foliage. Nothing can be easier than his
attitude, as with one hand he curbs his charger and with the other
holds his sword which seems to flash in the sun. The picturesque de-
sign of this portrait, its brilliant coloring, its bold yet careful execution,
Gainsborough never surpassed. No wonder that George III wished
OLD WORLD MASTERS
to Reynolds, was one of the many things that provoked his dictum,
Gainsborough replying, if he took the trouble to reply at all, with
the Mrs. Siddons and those other portraits, painted in the last ten
years of his life, in which blue, canary yellow, and other cool tints are
made the centres of the color scheme.”
But tall and Gainsborough continued their relations. Buttall was
one of the “few friends Gainsborough respected and whom he desired
should attend his funeral at Kew. Buttall outlived Gainsborough
seventeen years and died in December, 1805, as the Morning Herald
notes: “Died, on Friday last, at his house in Oxford Street, Jonathan
Buttall, Esq., a gentleman whose amiable manners and good disposi-
tion will cause him to be ever regretted by his friends.”
GENERAL PHILIP HONYWOOD.
Thomas Gainsborough
{1727-1788').
Collection of
Mr. John Ringling.
When Gainsborough exhibited this portrait in London in 1765 it
created quite a stir, as it was a departure from the style of any por-
trait by that artist; and when it was sent home to Mark Hall, the seat
of the Honywood family in Essex, a new room had to be built in order
to accommodate it, as the canvas measures nearly ten feet square
(96^ x 82%).
This has the reputation of being the finest equestrian portrait ever
painted by Gainsborough. Fulcher writes of it:
“Never was the amenity of landscape more happily displayed.
Through a richly wooded scene wherein the sturdy oak and silvery-
barked birch are conspicuous, the soldier, mounted on a bay horse,
appears to be passing, wearing a scarlet dress which contrasts finely
with the mass of surrounding foliage. Nothing can be easier than his
attitude, as with one hand he curbs his charger and with the other
holds his sword which seems to flash in the sun. The picturesque de-
sign of this portrait, its brilliant coloring, its bold yet careful execution,
Gainsborough never surpassed. No wonder that George III wished