The 18th century in Europe was a golden age for portraits and landscape paintings, particularly since the aristocracy was so fond of giving artists patronage and commissioning works that depicted their own lives. In this way, an artist like Thomas Gainsborough was able to leave his mark.

Gainsborough was born as the son of a weaver in Suffolk in 1727. He began his study of art in 1740, traveling to London to practice his craft alongside other famous artists-to-be like Hubert Gravelot and William Hogarth. After marrying and fathering two daughters, Gainsborough finally achieved success and patronage after his work was exhibited in Bath in 1759. He would soon go on to become a founding member of the Royal Academy of Arts, and in 1774, he returned to London, where he would paint portraits for King George III and Queen Charlotte. However, Gainsborough was passed over for the position of court painter, which went to his longtime rival Joshua Reynolds. In his final years, he was given to painting more landscapes than portraits and credited with inspiring the British school of landscape painting.

Although he studied the formal technique taught by art academies, Gainsborough was drawn toward a direct observation and imitation of nature. He was also noted for the speed in which he painted, using light strokes to the effect of merging the people in his portraits with their background. In each portrait, Gainsborough fleshed out the smallest details and lighting shifts in order to make each subject stand out as an individual, even when most were wearing the common fashions of the day.

One of Gainsborough's most striking portraits—Portrait of a Woman, Possibly Of the Lloyd Family—is not as well known as his other subjects, though it still catches the audience's eye. The painting shows us a young woman (possibly a member of the Lloyd family in Ipswich) sitting in a pastoral setting. While Gainsborough painted many female portraits, this model stands out for a few reasons. Firstly, she sits in a relaxed posture with her legs crossed as opposed to being stiff and upright like the women painted before her. Secondly, the viewer's eye is immediately drawn away from the outdoor setting to the vibrant blue of her silk dress.

Gainsborough drew upon traditional French and Dutch techniques when it came to the landscape behind the young lady, but imitated natural lighting for the sake of bringing the subject of his portrait to life. The image is charming without being overwhelming and that is a testament to the English painter's skill.

The paintings of Thomas Gainsborough can be found at museums such as the National Gallery of Art in Washington, D.C., the Detroit Institute of Arts, and the Kimbell Art Museum in Fort Worth, Texas.

Image by Charlie Llewellin on Flickr