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Lot Essay
Uvedale Prince (1747-1829), a leading theorist of the 'Picturesque' movement, commented that while Gainsborough was 'at times severe and sarcastic when we have come near to cottages and village scenes with groups of children and objects of rural life that struck his fancy, I have observed his countenance take on an expression of gentleness and complacency.' (cited in M. Rosenthal, M. Myrone, Gainsborough, exhibition catalogue, Tate Britain, London, October 2002-September 2003, p. 212).
This painting can be dated stylistically to circa 1754, shortly after Gainsborough's move from Sudbury in 1752 to the trading port and market town of Ipswich, with its larger pool of prospective clients. Like many of his early works, this painting is informed by both Dutch 17th century genre painting and the French rococo style of Watteau, however, as a portait of an aged peasant, it is unique in Gainsborough's oeuvre. The nearest comparison would be Wooded Landscape with Old Peasant and Donkeys outside a Barn, Ploughshare and Distant Church, dated circa 1755-7 (private collection; Hayes, op. cit.), although the peasant is not the sole focus of the composition. These paintings can be seen as the beginnings of a theme that Gainsborough later developed in his fancy pictures.
We are grateful to Hugh Belsey for his assistance in cataloguing this lot.
This painting can be dated stylistically to circa 1754, shortly after Gainsborough's move from Sudbury in 1752 to the trading port and market town of Ipswich, with its larger pool of prospective clients. Like many of his early works, this painting is informed by both Dutch 17th century genre painting and the French rococo style of Watteau, however, as a portait of an aged peasant, it is unique in Gainsborough's oeuvre. The nearest comparison would be Wooded Landscape with Old Peasant and Donkeys outside a Barn, Ploughshare and Distant Church, dated circa 1755-7 (private collection; Hayes, op. cit.), although the peasant is not the sole focus of the composition. These paintings can be seen as the beginnings of a theme that Gainsborough later developed in his fancy pictures.
We are grateful to Hugh Belsey for his assistance in cataloguing this lot.