Reynolds, Gainsborough, Mark Van Dyke discussed on The Art Newspaper Weekly

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You can read more on this story at the art newspaper come and in the Catholic, the exhibition early Gainsborough from the obscurity of a country town. The show opens gains perhaps sub Bree on the twentieth Tober and continues into seventeenth February. Now we thought we'd use this opportunity to talk to the art historian Ben Dor, Grosvenor regular contributor to the art newspaper about gains more widely bender joins me on the line bender, what do you make of this story about the murders and how that affects how we now see him? Oh, I think it's fascinating evidence. I mean, I'm I'm always impressed when people find out things like this, and it's also surprising in the way that it hasn't come out before. That might reflect on some of the sort of wider research skills of of art historians. But it's really interesting. Whether it makes us look again at gains early pictures. I'm not so sure. It depends how far you won't go into his psyche ready. Probably I think I think in terms of his early development, I think there are more important things like the the handsome in Unity's it. He had access to when he married his wife in seventeen forty, six, the images, mature of juke. She brought with her new two hundred year, and I think that probably allowed him. You know, more freedom to do development as an artist's than than the legacy given to implies on core of just thirty quid. And if if these murders had had an impact on Gainsborough immediately, I think we saw would have heard about it by now. We'd see something in his pictures. There's no hint of of of murderous struggle in any of his. That's right. I mean, when when things about it when things about grace and in the landscapes extrordinary fluency of his language and there isn't much angst is not. There isn't the only thing one might say is that you know, we have all those charming stories of of Gainsborough playing truant in his early life from school and going into the field to to draw a treason and landscape in maybe that was the reflection of of a turbulent domestic lifestyle. And maybe that's why he felt he wants to get out of the house and spend time time amongst trees, which wished dog your back is intriguing question. Let's look early gains in the context of his life because you know. You know, I love those later pictures and the the kind of fluent language of those those these later works. But certainly I find his early works. If if promising I find them quite stilted and difficult to look at in lots of ways. What, what, what do you make of them overall? I know I love against pro. I did little especially games for some some years ago in London with Lindsay Stainton. And I think actually his his, his early landscapes amongst his best, this sort of pure in a way there's less sentiment about them. And our love is only portrait to is as sort of almost caricature figures that so expressive. There's none of the weariness about his some of his later portraits. You know, when you know he famously says he gets bored of painting faces. You don't get that sense in his early portrait. So I am a great fan. Is there a sort of. A clear path between the early in the late pitched you see, stall developed very steadily or their giant leaps in his career. Well, that's extrordinary thing about gauge bazaars development is is really quite varied. And the fact that when he dies apart from his pupil bridge upon nobody is really able to carry on what we call, you know, gains per style, that sort of feathery staccato take Nique and that in turn is so different from his early works, which are very, like Hayman who goes that sort of style. So he is an artist who really quite dramatically. And I think that reflects his sort of rather curious, unconventional personality. He was very witty personally, never minded being rude to even the grandest of his patrons. He was fond of the bottle and so on and so forth. That's an interesting fact there is this sort of. Battle the heart of eighteenth century painting as it's been characterized between Gainsborough and Reynolds and gains was perceived as sort of free spirit and more natural and all about sensibility. Whereas Reynolds doctrinaire and all that kind of stuff. What do you make of that is some of that myth? Will you even get a sense? It is. It's a famous thing about artists being great rivals. We we see that today and it's all great for publicity and hive up for Monday's gains rentals, kind of new, wanting each other up and getting articles on the press. Did them both good deal of favor. I mean, they did have a famous rapprochement and and Reynolds board games was pictures and gains record as being a great admire actually of how various Reynolds technique walls. I have to say probably in the end, I'm I'm more of a gains per person because I find him an artist of greatest sensitivity. I think you know Reynolds. Mr. grant, Matt or anything being very grant and imposing he's, you know, he's the night. He surprised roll academy. One guest slight sense that he slightly constrained by that, whereas gains more the free spirit, a new c. in this marvellous portraits of his daughters. You see in artist, great sensitivity, and of course we mustn't forget, you know, he'd been, he'd lost child very early on, and I think all of these things make him slightly more rounded painter. I wonder if one of the other things that attracts you to gangs above Reynolds is also his gains was clear. Love of vandyke use of couse. Your great hero. Oh, yes, absolutely. And if I lost that long to be surrounded on my deathbeds by adoring family, I'll be echoing gains passwords, which were were all going to heaven and vandyck is of the party. Can you sort of detect the clear Mark Van Dyke in his work in terms of the language. I think you can in certain of the poses in the cage Nally. He indulges in Van Dyke dress, but for me, it's more on the technique gains does go for that sort of thin, lazy application of paint. You see in fantastic's later English works in particular. And of course he does lots of copies of Van Dyke and what what I think there are clear echoes in in canes, prevent Dyke's both artists in order to get through vast numbers of patrons Sapp before them developed a very speedy style painting. And has basically how the only way they could cope with it on both pulled it off Ray successfully. We should point listeners in direction of some of the best paintings that they can see in public galleries. I can think oversee the National Gallery has the most extraordinary creation in London, but there's also the picture gallery. Where else would you recommend that they go wherever you know in the states or in the UK. Is was house. There's the Frick collection way. You'll see those series of wonderful lengths which are not any brilliant books about, but also in ever accuracy to conditions. So they shimmer in the way against when he's working does? Yes. The remarkable things in the Matt has a a decent gains collection to from right. Yes. If you go around the man at his, it's amazing how that huge galleries devoted to English artists eighteenth century against Reynolds, Anne Rumney. And it's a real reminder of how English eighteenth century porch dislike gains per took America by storm. In the first part of the twentieth century. Mendel thank you very much for joining me. Okay. Find

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