Thomas Gainsborough Interview

What events in your early life made you get interested in the arts?
At an early age I was interested in art. My father is a cloth merchant in Sadbury, Suffolk. This is where I was born, in 1727. All I wanted to do was draw and paint, and eventually study art. To convince my father that I needed to study art, I had to impress him with my sketches, then he finally agreed. I knew I needed to pursue something I was so passionate about.In the beginning of my artistic career, I watched my mother paint, which was very inspiring. I would often go to the woods and sketch which is my absolute favorite thing to do. I dreaded going to school. The only thing I ever wanted to do was draw, and luckily, my father allowed me to study what I loved most.

What role did mentors play in helping you develop the interests and talents you have as an artist?
In becoming an artist, I had a lot to influence me, including my mentor, Hubert Gravelot. He is a French silver engraver. He was very well known for his engravings he was also a book illistrator, and a draughtsman. A draughtsman is someone who makes mechanical drawings of machines and structures. Gravelot was not only an excellent mentor, but employed me as his assistant. Those experiences helped me become the artists that I am.Gravelot introduced me to many concepts. During that time, the British artists were mostly influenced by the Italian theory and Gravelot taught me to expand and explore French concepts as well. He also was a great connection to many other artists.

What was the world of art like in your particular art field when you entered it?
During the 18th century, there were many different kinds of art, especially in Europe. In France, Rococo was popular. Rococo was a classic, elegant style of not only art, but also interior design. Another popular form throughout Europe was neoclassical. It imitated classical art in Greece and Rome, and often depicted dramatic scenes.Many English artists, like myself, were doing portraits. The portraits became extremely popular and everyone wanted one. Artistocracy made it so everyone in the family would get a portrait. Soon, this was a fad and portraits thrived.

How did the major cultural, economic and political situations of the time impact your work?
In the 18th century, everyone who was important had a portrait. The English culture of wanting to be wealthy and important completely helped my art. My art paid the bills, and I could not do that without my clients.Economically, the 18th century was perfect for my career. Royalty and the elite showed off their wealth by having portraits of themselves and their family hung throughout their home. I was always in business.Politics had no effect on my art and my business. There were brief wars between England and France, but they were not significant enough to get in the way of my portrait painting.

What were your major accomplishments and the methods you used in your art?
My major accomplishments consist of my portraits. Even though I truly love painting landscapes, I am most famous for my spectacular portraits. My love of landscapes made me incorporate nature in my portraits. I love to combine the two. That is when all of my talents shine.Two of my most famous portraits are "Mrs. Sarah Siddons" and "The Blue Boy". My portrait of Sarah Siddons is not only famous because it is an excellent painting, also because Mrs. Siddons was a famous actress in England. "The Blue Boy" is a particularly stunning portrait because of his clothing and the emotions in the painting. One of my best works.

What were the key opportunities you had that led to turning points in your life and art?
My biggest opportunity towards fame was painting a portrait for Mr. Robert Andrews and his wife. This early portrait was definetly not my best work, but it opened many doors for my career as a portraitist.The Andrews were a wealthy, important couple in London. They told their friends and family of my spectacular job and that is how I became a renowned portraitist.

What personal choices did you make to become successful?
To become the best artist I possibly could be, I had to make sacrifices and take all the oppourtunities I could get. Landscapes were my true calling, but I knew that I would never make ends meet if that was the only work I did, so I had to move on to portraits. To become the best you can, you cannot necessarily do what you want, but what society wants,At first I was a mild painter. None of my works were dramatic masterpieces. They were all small and not bad at all, just not to my fullest extent. Soon I realized that I needed to be painting on a larger scale, and I made everything life size.

What hardships or roadblocks did you have to overcome in order to be an artist?
Honestly, I didn’t have a terrible time becoming an artist. My father was very supportive and let me study my true passion. Being the youngest of nine children, it was hard to always get what you wanted. My parents were hard workers and gave me the opportunity I needed to become a real artist.Leaving the countryside to go to London to study was one of the best decisions I made for my career, and my family supported me the whole way. It was hard at first, but once I found my way in the city, my talents provided for a wonderful life.

What kind if limitations did you run into as both an artist and a person?
Personally, I had to limit myself with my art. All I wanted to do was paint landscapes. That is where my true passion lies, but I knew that if that was all I did, I could never support my wife and two daughters. I had to make sure that I had enough clients and commissions before I could start a new landscape. I needed to keep my urge to paint landscapes under control, in order to make a sufficient income to support my family.　

What personal stories (anecdotes) best illustrate how you became successful in the arts?
The reason why I, or anyone, became successful in art is because it is my passion. I live for paitning. It is my one true talent and I knew from the very beginning that I had to be an artist. When I was little the only thing I did was walk around the woods and sketch the wonders that surrounded me. I hated school because it took time away from me being in the woods, so I would often skip. On the days that I did attend, I would trade my artistic talents of portraiture in exchange for my completed homework.Anyone can make it, as long as they want it enough, and I sure did. I am so lucky to have made it to exactly what I wanted to be. Even though I had to sacrifice my time from painting landscapes for portraits, I have always been happy to paint at all.　

This painting is the perfect depiction of Gainsborough's style: portraits, with nature. Though landscapes were is most favored of the two, he had to make a living and he did so with his portraiture. "The Marsham Children" shows how he can perfectly incoorporate the two.

Lanscapes were by far Gainsborough's favorite to paint, but he is more famous (and debatebly more talented) at portraits.

This is a very important portrait called "Mr. and Mrs. Andrews." It is often a symbol for eighteenth century art.

This is one of Thomas Gainsborough's most famous painting called "Mary Countess Howe."

Mary Countess Howe." Andrew Grahm-Dixon Archive. Web. 8 Apr 2010. .

This is a recent photo of the town of Sudbury, Suffolk where Thomas Gainsborough grew up.

"Suffolk." Geograph. Web. 8 Apr 2010. .

This is an extremley well known portrait by Gainsborough called "Gorgiana Dutchess of Devonshire."