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205:. The woman ascending to the wagon shows a motion opposite to Christ's. Christina Payne has commented on some of the symbolism in the 1784 work, noting that the broken pitcher placed in front of the pregnant passenger may be a symbol of virginity. The earlier painting is also far more intimate to the artist as the women in the wagon are portraits of Gainsborough's own daughters, Mary and Margaret.
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The first work could not find a buyer, perhaps being too ribald for the art market of the time. It was given to
Gainsborough's friend Wiltshire, a mover who transported Gainsborough's paintings from Bath to exhibitions in London. Wiltshire's horses had also served as the model of the animals in the
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The two paintings of a similar subject done some seventeen years apart show the evolution of
Gainsborough as an artist. The later painting is more sedate, the figures more composed and less excited. The Gainsborough scholar Hugh Besley sees landscape, people, and animals as more unified in the later
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Both paintings depict a group of peasants riding inside a simple wagon through a rural landscape with a collection of nearby animals. A young boy leads the wagon, while a man helps lift a young woman aboard. The painting is set in the area around
Gainsborough's adopted city of
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for $ 450,000, and Wood then donated it to the Art
Gallery of Ontario. In 1959 the painting was somewhat damaged during an attempted robbery when the thieves tried to cut the painting out of its frame.
195:, where he lived for 14 years of his life. In 1995 the two museums collaborated on a joint show that displayed the two versions side by side, first on display in England and then in Canada.
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for $ 360,000, then the highest price ever paid at auction for a painting in the United States. Duveen later sold it to
Canadian art collector
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work. He also sees more influence of Rubens on
Gainsborough's style and technique, particularly of Rubens's
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was one of the most sought-after works. After a competitive auction it was purchased by art dealer
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picture. The painting remained in
Wiltshire's family until his grandson sold it in 1867.
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174:. The second version was painted around 1784 and is now part of the collection of the
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178:. The Toronto version is the better known of the two. It was donated to the AGO by
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121.9 cm × 149.9 cm (48.0 in × 59.0 in)
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120.5 cm × 144.7 cm (47.4 in × 57.0 in)
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The second painting, done at the height of
Gainsborough's fame, was sold to the
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in 1941, and is one of the most prominent pieces in the gallery’s collection.
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166:. The first version was completed around 1767 and is today owned by the
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Hugh Besley. "Gainsborough's
Harvest Wagons: Toronto and Birmingham."
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John
Bentley Mays. "Back to the land with Turner and Gainsborough."
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is the name of two oil paintings by the English artist
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Rogues in the Gallery: The Modern Plague of Art Thefts
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Mrs Elizabeth Moody with her sons Samuel and Thomas
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308:The English Rural Community: Image and Analysis.
621:Paintings in the Barber Institute of Fine Arts
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284:Vol. 137, No. 1109 (Aug., 1995), pp. 574-575.
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530:Portrait of Georgiana, Duchess of Devonshire
424:The Painter's Daughters Chasing a Butterfly
636:Landscape paintings by Thomas Gainsborough
490:Portrait of Anne, Countess of Chesterfield
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297:University of Chicago Press, 2004 pg. 297
616:Collection of the Art Gallery of Ontario
401:Wooded Landscape with a Herdsman Seated
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269:Toronto, Ont.: Jul 29, 1995. pg. C.16
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16:Two paintings by Thomas Gainsborough
393:Cornard Wood, near Sudbury, Suffolk
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506:Portrait of the Earl of Sandwich
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582:Humphrey Gainsborough (brother)
538:Mrs. Richard Brinsley Sheridan
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168:Barber Institute of Fine Arts
78:Barber Institute of Fine Arts
482:Portrait of Mrs Mary Graham
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514:Mr and Mrs William Hallett
340:C&M Online Media, Inc.
202:The Descent from the Cross
466:Portrait of David Garrick
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321:Art: Gary's Gainsborough
549:The Woodcutter's Return
281:The Burlington Magazine
255:AGO: The Harvest Waggon
295:Duveen: A Life in Art.
176:Art Gallery of Ontario
146:Art Gallery of Ontario
595:Gainsborough (crater)
566:Gainsborough's House
458:Maria, Lady Eardley
378:Thomas Gainsborough
267:The Globe and Mail.
172:Birmingham, England
164:Thomas Gainsborough
110:Thomas Gainsborough
42:Thomas Gainsborough
545:Cottage Door works
409:Mr and Mrs Andrews
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442:The Harvest Wagon
310:CUP Archive, 1992
227:The Harvest Wagon
223:Elbert Henry Gary
159:The Harvest Wagon
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24:The Harvest Wagon
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474:Woman in Blue
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128:Oil on canvas
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646:Dogs in art
590:(1945 film)
547:(including
533:(1785–1787)
435:The Gipsies
433:(including
431:Gypsy works
417: 1750
186:Description
610:Categories
242:References
209:Provenance
134:Dimensions
82:Birmingham
66:Dimensions
501:(c. 1780)
493:(1777–78)
461:(c. 1770)
453:(c. 1770)
445:(c. 1767)
385:Paintings
142:Location
74:Location
575:Related
559:Museums
551:et al.)
437:et al.)
150:Toronto
119:c. 1784
51:c. 1767
541:(1787)
525:(1786)
517:(1785)
509:(1783)
485:(1777)
469:(1770)
427:(1757)
404:(1748)
396:(1748)
124:Medium
106:Artist
56:Medium
38:Artist
588:Kitty
170:, in
325:Time
193:Bath
116:Year
48:Year
612::
414:c.
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148:,
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412:(
370:e
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