“Mr and Mrs
Robert Andrews” is a much-loved painting by one of England’s most celebrated
artists. But what is the story behind the painting and its creator?
His early
life
Thomas
Gainsborough (1727-88) was born in Sudbury, Suffolk, to a clothier who was later
made bankrupt and became the local postmaster. After being taught to paint by
local artists, Thomas left for London
in 1740 to be apprenticed to an artist and probably earned a living as a
theatrical scene-painter. Before long he was clearly earning enough to be able
to marry, which he did in 1746, and he developed an early interest in landscape
painting at which he became highly skilled.
He returned
to Suffolk in 1748 in the hope of being able to
make more money from his landscapes than he could do in London . However, this proved difficult, and
he soon found that there was more call for portraits than for landscapes.
“Mr and Mrs
Robert Andrews”
This was his
first major success in portraiture, the work being started in 1748 and probably
completed (but see below) in 1750. The chief feature of interest in this
painting is that Gainsborough produced both a portrait and a landscape on the
same canvas. It was not uncommon for portraitists of the time to set their
subjects in an outdoor context, but the surroundings were usually derivative
and painted to a set pattern, so as not to detract from the person being
portrayed. That is certainly not the case with the Andrews portrait.
The painting
shows a wealthy young couple on one side of the canvas, with the rest
comprising a vista of their estate, stretching away to distant hills and the
town of Sudbury ,
which can just be seen. It is highly likely that the design of the picture was
a joint affair, with Robert Andrews being very keen for the painting to show as
much as possible of his possessions and his management of the land.
Gainsborough
was personally acquainted with the couple, having known them since his
childhood in Sudbury .
However, they were hardly social equals. Although Robert Andrews had attended
the same school as Gainsborough, the former had gone to Oxford
University and returned to manage his
inherited estate, whereas Gainsborough had had to leave for London . The family of Frances Andrews had helped
Gainsborough’s father when he became bankrupt. It was therefore no surprise
that Robert Andrews would have commissioned Thomas Gainsborough to paint his
marriage portrait (Robert was 23 at the time and Frances 16; Thomas was only 21);
however, the relationship would have been that of master and servant, with
Gainsborough being very aware of his inferior status.
A closer look
at the painting
It is
interesting to compare the two halves of the painting. Frances sits
under an oak tree on a green wrought-iron bench, her voluminous blue dress
spreading out on either side. Robert stands with legs crossed, one elbow
leaning on the bench, with a flintlock musket held correctly under his arm. His
pointer dog nuzzles his leg and looks up at him. Robert is also fashionably
dressed and wears a tricorn hat.
However, it
is noticeable that the newlyweds do not seem to be aware of each others’
presence. They do not touch, or look at each other, but stare blankly out of
the painting towards the viewer. Their expressions are haughty and disdainful. Frances sits
bolt upright and looks unsure of herself. She appears to be holding a short
stick of some kind in one hand, but it is not possible to tell exactly what it
is because, strangely enough, the area of her lap and hands has not been
finished by the artist.
As portraits,
the two figures are not particularly successful. Gainsborough later developed into
a highly skilled portraitist as well as a landscape painter, but his
inexperience as this stage of his career is evident. The later Gainsborough
would have given his subjects much more expression than he does here – for an
example, his similarly-composed portrait of “Thomas Heneage and his Sister”.
However, when
the viewer looks at the other part of the canvas it is a very different story. This
scene is, after all, the countryside that Gainsborough knew and loved. He had
bunked off school as a child to walk into these fields and sketch the trees and
animals and observe the clouds and the effect of shafts of sunlight as they
moved across the land. Gainsborough therefore went to a great deal of trouble
to paint the scene in considerable detail.
In the
foreground are sheaves of corn, which would have been appropriate in a marriage
portrait as they are a standard symbol of fertility. However, beyond the
sheaves are seen parallel lines of stubble which are evidence that Robert
Andrews was using the latest technology of the seed drill. He is a modern
farmer who wants this to be recorded for posterity.
Beyond the
cornfield can be seen sheep peacefully grazing in a well-fenced field. There is
nothing out of order here and no trace of wildness or poor management. Robert
Andrews is in charge, and he is the master of most of what the viewer surveys.
Perhaps this
also applies to Frances
sitting on the bench. Robert’s pose seems to suggest that he has just made a
new acquisition who is just as much his property as the sheep in the distance.
At least, maybe that is the impression that Gainsborough wishes to convey.
There is no warmth in the portrayal, and perhaps this is the artist’s revenge
on the local landowner who had no time for the artist except as just another
member of the artisan class.
Gainsborough
was paid to do a job, and he did it. However, the time and attention devoted to
the landscape as opposed to the people would seem to indicate where his chief
interest lay.
A final
mystery
Why was the
picture left unfinished? Might this have been deliberate on Gainsborough’s
part, such that he was testing Robert Andrews to spot the omission? One can
imagine the painting’s commissioner drooling over the magnificent portrayal of
his estate, his chief pride and joy, and neglecting to notice that his young
wife’s image is imperfect.
Or could this
possibly have been a private joke between the artist and young Frances, with
whom one can imagine Thomas Gainsborough to have had greater fellow feelings?
Might she have had a quiet word in his ear one day, along the lines of “Do you
think he’d notice if you gave me a little bit more mystery in that part of me
that he should be particularly interested in as my new husband?”
Or did Thomas
have a secret desire for Frances, which he expressed by leaving blank that part
of her dress that covered her nether regions? The message might therefore be:
“This is the area I will finish in my own time, given the opportunity. In the
meantime, Robert, she is not completely yours”.
Whatever the
truth of the matter, “Mr and Mrs Robert Andrews” provides an insight to the
developing talent of one of Britain ’s
greatest artists, who was to achieve the rare distinction of being a master
both of landscape and of portraiture.
“Mr and Mrs Robert Andrews” measures 27 by 47
inches (70 by 120 centimetres). It is on display at the National Gallery,
London.
© John
Welford
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