By Katharine Baetjer
Британская портретная живопись из собрания The Metropolitan Museum of paintings
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Watson's costumewould have been a fashionstatement. Reynolds's principalrivalat the time was FrancisCotes (see p. 34), and theirpaletteshere have much in common. He recordedan unusuallylarge total of sixteen appointmentsbetweenFebruary9 andAprilio of thatyearwith CaptainGeorgeCoussmaker (p. 32), plus two or more appointments for the captain'shorse. Coussmakerhad joinedthe FirstRegimentof Foot Guardswith the lowest commissionedrankof ensignandlieutenantin 43I SIR JOSHUA REYNOLDS Captain George K.
32), plus two or more appointments for the captain'shorse. Coussmakerhad joinedthe FirstRegimentof Foot Guardswith the lowest commissionedrankof ensignandlieutenantin 43I SIR JOSHUA REYNOLDS Captain George K. H. Coussmaker (I759-I80I) Oil on canvas, 93 /4 X 57 /4 in. 4 cm) Bequestof William K. 155-3) Opposite. SIR JOSHUA REYNOLDS The Honorable Mrs. Lewis Thomas Watson (I767-I8i8) Oil on canvas, 50 x 40 in. 6 cm) Bequest of Mrs. 2) starchedfichuand a skirttuckedat the waist. Watson'sface. It seems likely thatthis modernstyle would have been 32 ; favoredby Reynolds,who had painted women in classicallyinspiredwhite bedgowns long before white was de rigueurfor ladies in society.
7 cm) Bequest of William K. -I776) ions for the pleasure gardens at Vauxhall. English artists may be divided between those who came from or visited continental Europe and those who did not: while Gainsborough was one of the latter, from an early age he studied the French Rococo style and also the work of Jacob van Ruisdael and his seventeenth-century Dutch contemporaries. Had landscape painting been more profitable, Gainsborough would perhaps have made a career working only in that genre. Failing at this alternative, he returned to Sudbury from London in 1748 and then moved to Ipswich in search of a clientele for small full-length portraits.