Charles Rousseau Burney - Thomas Gainsborough
Archival giclée
Ready to hang
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Made to order
Description
A refined portrait of musician Charles Rousseau Burney by Thomas Gainsborough, featuring fluid brushwork and a distinctive red coat.
This portrait depicts Charles Rousseau Burney, a musician and member of the prominent Burney family, captured by Thomas Gainsborough during his mature period. Gainsborough, known for his fluid brushwork and sensitive approach to portraiture, presents the sitter in a half-length pose. Burney is dressed in a striking red coat, which provides a bold contrast against the dark, atmospheric background. His attire includes a white cravat with delicate lace ruffles, reflecting the fashion of the late eighteenth century. Burney holds a sheet of musical notation in his hand, a detail that identifies his profession and personal interests. The artist employs a soft, painterly technique, particularly in the rendering of the fabric and the sitter's powdered wig. The lighting is focused on the face and the musical score, drawing the viewer's attention to the subject's expression and his connection to his craft. Gainsborough avoids rigid formality, opting instead for a sense of movement and spontaneity that characterises much of his work. The background features hints of a draped curtain in muted green tones, which adds depth without distracting from the primary figure. This work demonstrates the artist's ability to balance technical precision with a relaxed, naturalistic quality. The composition is balanced, with the diagonal line of the musical score guiding the eye across the lower portion of the canvas. Gainsborough's palette is carefully controlled, using the warmth of the red coat to anchor the composition while allowing the cooler tones of the background to recede. This portrait remains a fine example of British portraiture from the period, documenting both the individual and the social milieu of the time.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Charles Rousseau Burney - Thomas Gainsborough
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Museum-Quality Materials
Artist Biography
Thomas Gainsborough
He was born in Sudbury, Suffolk, in 1727. His father went bankrupt in 1733. He moved to London as a teenager and trained under the French engraver Hubert-Francois Gravelot. By his thirties he was one of the two dominant portrait painters in Georgian England, the other being Joshua Reynolds. The rivalry with Reynolds defined both their careers.
The Blue Boy is probably his most famous painting, though he would have preferred to be remembered for his landscapes. On his deathbed he reconciled with Reynolds. Reynolds later wrote that the Royal Academy had lost one of its greatest ornaments. Gainsborough died in 1788, aged sixty-one.
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