Landscape with Castle and Carriage by Thomas Gainsborough

Landscape with Castle and Carriage 

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Dimensions: support: 184 x 240 mm

Copyright: CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Here we have Thomas Gainsborough's "Landscape with Castle and Carriage," currently housed in the Tate Collections. Notice the delicate touch, especially given the modest scale of the support. Editor: My immediate impression is of a journey, perhaps even an escape, rendered with a subdued, almost melancholic tone. Curator: The tonality is masterfully achieved through Gainsborough's restrained use of line and the subtle gradations of the sepia medium. The composition leads the eye directly to the castle. Editor: Right, and I read the castle not just as an architectural element, but as a symbol of power and privilege, sharply contrasted by the implied labor of those on the road. Curator: While that may be a valid reading, I'm more interested in the formal interplay between the organic forms of the trees and the geometric structure of the castle. Editor: But can we ignore the social dynamics suggested by the figures traversing the landscape? Curator: Perhaps not entirely, but I find greater value in the aesthetic experience. Editor: I suppose our distinct perspectives highlight the enduring relevance of artworks like this. Curator: Indeed. Gainsborough provides ample ground for varied interpretations.

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tate 5 days ago

http://www.tate.org.uk/art/artworks/gainsborough-landscape-with-castle-and-carriage-t09594

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tate 5 days ago

For centuries 'oiled charcoal' was prized for its ready adhesion to paper fibres, whereas ordinary charcoal particles tend to sit on the surface, remaining powdery and vulnerable to smudging. Oiled charcoal is produced by soaking pieces of vine charcoal in linseed oil. The oil is absorbed into the paper when the charcoal is used. The paper fibres around the charcoal lines darken leaving a slight discoloured halo. Over time the oil migrates, darkening the paper and making the haloes more pronounced. Eventually the areas of paper covered with the charcoal exhibit an overall brown tone, apparent in this drawing. Gallery label, August 2004