MARC Record from marc_columbia

LEADER: 02244cam a2200409Ii 4500
001 13616880
005 20190122162742.0
008 181129s2018 enka bc 001 0 eng d
015 $aGBB8F1771$2bnb
016 7 $a019018980$2Uk
020 $a1781300666
020 $a9781781300664
035 $a(OCoLC)on1014140468
035 $a(OCoLC)1014140468
035 $a(NNC)13616880
040 $aYDX$beng$erda$cYDX$dMZA$dOCLCF$dUKMGB$dUKTTE
050 4 $aND497.G2$bA4 2018
080 $aGAINSB
082 04 $a790.2
100 1 $aGainsborough, Thomas,$d1727-1788.
245 10 $aGainsborough & the theatre /$cHugh Belsey, Susan Sloman.
264 1 $aLondon :$bPhilip Wilson Publishers,$c[2018]
300 $a104 pages :$billustrations ;$c28 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aCatalog of an exhibition at The Holburne Museum from October 5, 2018-January 20, 2019.
504 $aIncludes bibliographical references (pages 99-100) and index.
520 8 $aBased on new research this fascinating book draws together a group of works from public and private collections to examine, for the first time, the relationship that Thomas Gainsborough (1727-88) had with the theatrical world and the most celebrated stage artists of his day, such as James Quin, David Garrick and Sarah Siddons. Gainsborough painted notable portraits of these and twenty others, including dramatists, dancers and composers. This publication firmly establishes the artist's place within the theatrical worlds of Bath and London and shows why the art of ballet, and in particular Gainsborough's sitters, rose to prominence in 1780 and examines parallels between Gainsborough's much admired painterly naturalism and the theatrical naturalism of Garrick and Siddons with whom he had personal friendships.
600 10 $aGainsborough, Thomas,$d1727-1788$vExhibitions.
600 17 $aGainsborough, Thomas,$d1727-1788.$2fast$0(OCoLC)fst00035624
600 14 $aGainsborough, Thomas,$d1727-1788.
655 7 $aExhibition catalogs.$2fast$0(OCoLC)fst01424028
700 1 $aBelsey, Hugh.
700 1 $aSloman, Susan.
710 2 $aHolburne Museum.
852 00 $boff,fax$hND497.G2$iA4 2018h