A Sweden Museum	Carl Larsson's Oil Paintings
		Carl Larsson Museum May 28, 1853–January 22, 1919. Swedish painter.
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Here are all the paintings of Thomas Gainsborough 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
82440		A Coastal Landscape	A Coastal Landscape-1784). Oil on Canvas. 25 x 30 in. (63.5 x 76.2 cm). Date 1782(1782) cjr
85794		A Coastal Landscape	1784 1782 (x) Medium Oil on canvas Dimensions 25 x 30 in (63.5 x 76.2 cm) cyf
1309		A Cottage Girl with Dog and Pitcher
98009		A Grand Landscape	early 1760s Medium oil on canvas cyf
29336		A woman in Blue	mk65 1770s Oil on canvas 30x25"
40951		An Extensive River Landscape with Cattle and a Drover and Sailing Boats in the distance	mk158 c.1757-59
90378		An Unknown Couple in a Landscape	mid-1750s Medium oil on canvas Dimensions 76.2 x 67 cm (30 x 26.4 in) cjr
40897		Bumper,a Bull Terrier	mk158 1745
92203		Chasing a Butterfly	Oil on Canvas Date 1756(1756) cyf
40895		Children Building Houses with Cards	mk158 c.1743
40902		Conversation in a Park	mk158 c.1746
20695		Conversation in a Park(perhaps the Artist and His Wife) (mk05)	Canvas 28 1/2 x 27''(73 x 68 cm)Given in 1952 R.F
64314		conversation in a park, c.	1750 paris, louvre
30613		Conversation in the Park	mk68 Oil on canvas Paris,Louvre 1746 Britain
40912		Cornard wood	mk158 1748
43294		Cornard Wood,Near Sudbury,Suffolk	mk170 1748 Oil on canvas 121.9x154.9cm
58920		Cottage Girl with Dog and pitcher	Cottage Girl with Dog and pitcher (1785)
1314		Count Rumford
40580		Countess Howe	mk156 1760 jOil on canvas 244x152.4cm
87927		Der Morgenspaziergang	Date 1785(1785) Medium Oil on canvas Dimensions Deutsch: 236 x 179 cm cjr
40900		Detail of Conversation in a Park	mk158 c.1746
40907		Detail of Cornard Wood	mk158 1748
40901		Detail of Landscape with a Peasant on a path	mk158 c.1746-47
40913		Detail of Landscape with a Peasant on a Path	mk158 c.1746-47
40938		Detail of Landscape with a Woodcutter courting a Milkmaid	mk158 1755
48668		Detail of Portrait of artist-s Wife	mk191 Oil on canvas
40946		Detail of Portrait of John Sparrowe	mk158 c.1758
40914		Detail of Portrait of Mr and Mrs Andrews	mk158 c.1750
40922		Detail of Portrait of Mr and Mrs Andrews	mk158 c.1750
40923		Detail of Portrait of Mr and Mrs Andrews	mk158 c.1750
40928		Detail of Portrait of Sarah,Mrs Tobias Rustat	mk158 c.1757
40949		Detail of Self-Portrait	mk158 c.1759
40941		Detail of The Painter-s Daughters Chasing a Butterfly	mk157 c.1756
31819		Details of The mall in St.James's Park	mk76 Painted probably in 1783 Oil on canvas 47 1/2x57 7/8in
24153		Diana and Actaeon (mk25)	c 1785
24163		Diana and Actaeon (mk25)	c 1785 (detial)
88702		Dorfmadchen mit Hund und Henkelkrug	1785(1785) Medium Oil on canvas Dimensions 174 x 125 cm cjr
28511		Dr.Isaac Henrique Sequeira	mk61 1775 Detail
28735		Dr.Isaac Henrique Sequeira	mk61 1775 Oil on canvas 127x102cm
40893		Drinkstone Park	mk156 c.1746
40903		Drinkstone Park	mk158 c.1746
97613		Gainsborough	1782(1782) Medium oil on canvas Dimensions 249.6 x 189 cm cyf
58906		Gainsborough Daughter Mary	Gainsborough`s Daughter Mary (1777)
58891		Gainsborough Mr and Mrs Andrews	Gainsborough's Mr and Mrs Andrews (1748-49). National Gallery, London.
32837		Gainsborough's Forest	mk81 c.1748
24256		George III (mk25	1781
40963		George Pitt,First Lord Rivers	mk158 1769
58912		Georgiana, Duchess of Devonshire	Georgiana, Duchess of Devonshire (1783)
1318		Girl with Pigs	1782 Castle Howard Collection
80126		Grace Elliott	1778(1778) Medium Oil on canvas Dimensions 234.3 x 153.7 cm (92.2 x 60.5 in) cyf
1317		Haymaker and Sleeping Girl	1785 Museum of Fine Arts, Boston
78971		Heneage Lloyd and His Sister	ca. 1750(1750) Medium Oil on canvas Dimensions 64 x 80 cm (25.2 x 31.5 in) cyf
24161		Henry Duke of Cumberland (mk25)	with the duchess of Cumberland and lady Elizabeth Luttrell 1783-6
40964		Isabella,Viscountess Molyneux	mk158 1769
83366		John Campbell	oil on canvas partial view of painting 18th century Date 18th century cyf
56134		john campbell ,4th duke of argyll	mk247 1767,oil on canvas,92x60.75 in,235x154.3 cm,scottish national portrait gallery,edinburgh,uk
58916		John Campbell, 4th Duke of Argyll	John Campbell, 4th Duke of Argyll (1767)
24029		John Hayes St Leger (mk25)	1782
40911		Jonathan Tyers with his daughter and son-in-law,Elizabeth and John Wood	mk158 c.1750
1320		Karl Friedrich Abel	1777 The Huntington Art Collections, San Marino
53846		Konstnarens dottrar jaggr a fjaril	mk234 the end of 1750-first century 115x105cm
20696		Lady Alston (mk05)	Ca 1760 Canvas 90 x 65 1/4''(228 x 166 cm)Given in 1947 R.F
1307		Lady Alston 4	1760-65 Musee du Louvre, Paris
33818		Lady and Gentleman in a Landscape	mk86 c.1746/47 Oil on canvas 73x86cm Paris,Musee National du Louvre
21938		Lady and Gentleman in a Landscape (mk08)	c.1746/47 Oil on canvas 73x86cm Paris,Musee National du Louvre
58917		Lady Georgiana Cavendish, Duchess of Devonshire	Unknown woman, formerly called: Lady Georgiana Cavendish, Duchess of Devonshire
64313		lady getrude alston	1750 paris, louvre
41062		Lady in Blue	mk159 1770s Oil on canvas 76x64cm
58909		Lady in Blue	Lady in Blue (c. 1770)
31815		Lady innes	mk76 Painted c.1757 Oil on canvs 40x28 5/8in
78955		Lady Sheffield	1785-1786 Medium Oil on canvas cyf
40932		Landguard Fort	mk158 1754
40939		Landscap with Peasant and Horses	mk158 1755
58896		Landscape in Suffolk	Landscape in Suffolk (1748)
40905		Landscape with a Peasant on a Path	mk158 c.1746-47
40936		Landscape with a Woodcutter cowrting a Milkmaid	mk158 1755
40937		Landscape with Peasant and Horses	mk158 1755
88485		Landschaft mit dem Dorfe Cornard	3rd quarter of 18th century Medium Oil on canvas Dimensions 76 x 151 cm cjr
40915		Lavenham Church from the South	mk158 1748
40898		Man in a Wood with a Dog	mk158 c.1746 Oil on canvas 66x49.5cm
40954		Margaret Gainsborough Gleaning	mk158 c.1758
40933		Marjor John Dade of Tannington,Suffolk	mk158 c.1754
93910		Mary and Margaret Gainsborough, the artist's daughters	circa 1758(1758) Medium oil on canvas Dimensions 40.6 x 58.4 cm (16 x 23 in) cjr
1303		Mary, Countess Howe	1760 Iveagh Bequest Kenwood
78972		Master John Heathcote	1770(1770) Oil on canvas Width: 101 cm (39.8 in). Height: 127 cm (50 in). cjr
80189		Master John Heathcote	1770(1770) Medium Oil on canvas cyf
40579		Miss Ann Ford	mk156 1760 Oil on canvas 192x135cm
33753		Miss Anne Ford	mk86 1760 Oil on canvas 197.1x134.9cm Cincinnati,Cincinnati Musuem of Art
21862		Miss Anne Ford (mk08)	1760 Oil on canvas 197.1x134.9cm Cincinnati,Cincinnati Museum of Art
64318		miss haverfield, c	178o london, the wallace collection
1302		Mr and Mrs Andrews	1750 National Gallery, London
40561		Mr and Mrs Andrews	mk156 c.1750 Oil o ncanvas 70x119cm
78674		Mr and Mrs Andrews	1750(1750) Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf
79198		Mr and Mrs Andrews	1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf
79287		Mr and Mrs Andrews	1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf
79345		Mr and Mrs Andrews	1750(1750) Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf
80082		Mr and Mrs Andrews	1749-1750 Medium Oil on canvas Dimensions 69.08 x 119.04 cm (27.2 x 46.9 in) cyf
23295		Mr and Mrs Andrews (nn03)	c 1750 Oil on canvas 69.8 x 119.4 cm 27 1/4 x 47 in National Gallery London
40609		Mr and Mrs William Hallett	mk156 1785 Oil on canvas 236x179cm
58893		Mr and Mrs William Hallett	Mr and Mrs William Hallett (1785).

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Thomas Gainsborough

1727-1788 British Thomas Gainsborough Locations English painter, draughtsman and printmaker. He was the contemporary and rival of Joshua Reynolds, who honoured him on 10 December 1788 with a valedictory Discourse (pubd London, 1789), in which he stated: If ever this nation should produce genius sufficient to acquire to us the honourable distinction of an English School, the name of Gainsborough will be transmitted to posterity, in the history of Art, among the very first of that rising name. He went on to consider Gainsborough portraits, landscapes and fancy pictures within the Old Master tradition, against which, in his view, modern painting had always to match itself. Reynolds was acknowledging a general opinion that Gainsborough was one of the most significant painters of their generation. Less ambitious than Reynolds in his portraits, he nevertheless painted with elegance and virtuosity. He founded his landscape manner largely on the study of northern European artists and developed a very beautiful and often poignant imagery of the British countryside. By the mid-1760s he was making formal allusions to a wide range of previous art, from Rubens and Watteau to, eventually, Claude and Titian. He was as various in his drawings and was among the first to take up the new printmaking techniques of aquatint and soft-ground etching. Because his friend, the musician and painter William Jackson (1730-1803), claimed that Gainsborough detested reading, there has been a tendency to deny him any literacy. He was, nevertheless, as his surviving letters show, verbally adept, extremely witty and highly cultured. He loved music and performed well. He was a person of rapidly changing moods, humorous, brilliant and witty. At the time of his death he was expanding the range of his art, having lived through one of the more complex and creative phases in the history of British painting. He painted with unmatched skill and bravura; while giving the impression of a kind of holy innocence, he was among the most artistically learned and sophisticated painters of his generation. It has been usual to consider his career in terms of the rivalry with Reynolds that was acknowledged by their contemporaries; while Reynolds maintained an intellectual and academic ideal of art, Gainsborough grounded his imagery on contemporary life, maintaining an aesthetic outlook previously given its most powerful expression by William Hogarth. His portraits, landscapes and subject pictures are only now coming to be studied in all their complexity; having previously been viewed as being isolated from the social, philosophical and ideological currents of their time, they have yet to be fully related to them. It is clear, however, that his landscapes and rural pieces, and some of his portraits, were as significant as Reynolds acknowledged them to be in 1788.

All the Carl Larsson's Oil Paintings

Supported by oil paintings and picture frames