A Woman in Blue by Thomas Gainsborough

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The artwork under consideration is a picture of A Woman in Blue (1777-1779) by Thomas Gainsborough. The size of the original is 30 x 25 1/4 in (76 x 64 cm). The picture belongs to the Hermitage collection. The portrait A Woman in Blue by Thomas Gainsborough is the single work by the prolific artist in Russian museum collection. It is considered to be a brilliant pattern of the exclusive style of this portraitist. I observed this artwork several years ago during the excursion in department of Western-European art in Hermitage.

The gorgeous surroundings of Hermitage architecture had a strong impact on me. Pompous décor and eminent history of its creation make this museum to be one of the most significant artifacts in world art heritage. Rooms 298-300 of English art with its innumerable exhibits including about 450 items of particular importance left long-lasting impressions and unforgettable experiences on me. If to take into account that artworks of English painters are rather rare phenomena as for European museums, the chance to observe A Woman in Blue by Thomas Gainsborough in Russian museum was almost a lucky chance. I discovered that the earliest items in this exclusively captivating exhibition are dated by the second half of the XVIth century. Moreover, some small portraits are depicting famous historical characters, such as the Portrait of Edward VI by an unknown artist.

During that excursion I saw with my own eyes that Walther and Suckale described in their book: Gainsborough demonstrates a decisive rejection of pretentious artificiality. An acceptance of forms that correspond to nature and are not imposed on it. Even if the lightly powdered hair of the woman in blue has been piled up high, fixed with combs and decorated with a ribbon in a blue to match her silken dress, there is nevertheless something delightfully natural about her portrait. Her slender face with cheeks reddened by the country air seems no need to make-up. There is no hint of coquettishness in her slightly shy smile and gentle gaze. No corset pushes her breasts upwards, no deep décolleté distracts from her personal charm. Beauty and grace are inextricably linked with nature and naturalness (p. 386).

The artistic form of artwork influences directly the content. The inspired face, elegant gesture and serene posture serve to emphasize her noble refinement. The exquisite combination of the pinks of the tender face with the silvery blues, whites, and greys of the powdered coiffure, dress and scarf is indicative of the artists masterly handling of color. His technique of applying a limpid layer of diluted color to secure an impression of ethereal grace, coupled with his rapid and fine brushwork, all impart a poetic charm to his work.

The exclusive combination of tones consists in applying very fluid paints in a semi-transparent layer. Rapid strokes of the artist made with a fine brush, emphasize the elegance and nobility of the young woman image.

In conclusion I would like to say that Thomas Gainsborough always aimed, as Graham-Dixon notifies, to the idea of a perfect, completely desirable woman, which obsessed him as surely as it had any of the great sensualist painters of the past (p.110). This tendency, however, can be observed in his later period works. A Woman in Blue is not an exception. Using tender colors and techniques of small dabs, the artist aimed to convey that divine quintessence hidden in every woman, that partially reveals through noble posture and gestures.

On the other hand, he was the only artist describing fashion. In the picture A Woman in Blue he conveyed the delicate details of the fashion of that time. He was very sensitive in the description of fabric, style, color, collar shape or sleeve length, etc.

Reference

Graham-Dixon, A. (1999). A history of British art. Berkeley: University of California Press.

Walther, I. F., Suckale R. (2002). Masterpieces of Western Art: A History of Art in 900 Individual Studies from the Gothic to the Present Day, part 1. Köln: Taschen.

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A Woman in Blue by Thomas Gainsborough

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