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Daniel Gardner (1750 – 8 July 1805) was a British painter, best known for his work as a portraitist. He established a fashionable studio in Bond Street in London, specializing in small scale portraits in pastel, crayons or gouache, often borrowing Reynolds' poses. By some critics Gardner is regarded as a notable artist who, however, was not an accurate draughtsman if it came to figure work especially to facial construction in some of his pastels. For others, on the other hand, it is this special looseness or facile elegance which represents the uniqueness of Gardner's style, and in which they see an anticipation of impressionism. == Education and career == Daniel Gardner was a pupil of George Romney. However, Gardner used to say that he learned very little from him. At around 1767 Gardner moved to London where in 1770 he became a student at the Royal Academy of Arts. There he was taught by Johann Zoffany, Nathaniel Dance-Holland, Benjamin West, Giovanni Battista Cipriani and Francesco Bartolozzi. In 1771 Gardner won a silver medal at the Royal Academy of Arts for the portrait of an old man. The portrait was styled as a drawing in the ''Royal Academy Catalogue'' and therefore it very possibly was a work in pastel. It is said in a letter by Daniel Gardner's grandson, George Harrison Gardner, dated in 1856, that the subject of this portrait was ''The Chained Captive.''〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 22.〕 Apart from this picture no further works by Gardner were shown at the major London exhibitions. At that time Gardner was residing at 11, Cockspur Street, Pall Mall, London. Later in his life he had resided at two different addresses in New Bond Street, London, no. 120 and no. 142, removing to the latter in 1781, but in 1793 he transferred his residence to lodgings at 3, Beak Street, Golden Square, London. At around 1773 Daniel Gardner worked with Joshua Reynolds. It is said that in several of Joshua Reynolds' pictures, the trees or foliage were the work of Gardner. Reynolds' late style clearly influenced Gardner’s work in terms of composition, handling, and conception of figures. However, if it comes to figure work Gardner was never such an accurate draughtsman like Reynolds was. It is quite easy to believe that Gardner was responsible in many instances for the landscape backgrounds, for the trees, for the tree trunks and for the wreaths of flowers in Reynolds’ paintings. But it is not at all likely that Daniel Gardner was responsible for any of the figure work in the paintings of Joshua Reynolds.〔Neil Jeffares: ''Dictionary of pastellists before 1800 – Gardner, Daniel.'' 2012.〕〔Samuel Redgrave: ''A Dictionary of Artists of the English School: Painters, Sculptors, Architects, Engravers and Ornamentists: With notices of their lives and work.'' George Bell and sons, London, York Street, Covent Garden 1878, p. 167.〕〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 16.〕〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 17.〕〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 41.〕 Daniel Gardner became very popular as a portraitist. He portrayed some of the most famous personalities of his days like Jane Gordon, Duchess of Gordon, Georgiana Cavendish, Duchess of Devonshire, Charles Cornwallis, 1st Marquess Cornwallis, Elizabeth Lamb, Viscountess Melbourne, Frances Villiers, Countess of Jersey, Angelica Kauffman and Lord George Gordon. Therefore, it does not come as a surprise, that Gardner appears to have made money very rapidly. His pictures were very popular, he was able to paint quickly, and he got good prices for them. He spent a considerable part of his time away from home, having adopted the practice of staying in the house with his patron, when he could paint various members of the family, and sometimes of the neighbouring gentry as well. During all this time, Gardner was carefully saving up his money, and as soon as ever he was able to do so, he purchased on 10 December 1787 the old home of his parents in New Street, Kendal, and the property adjacent to it. Gardner continued this practice of buying houses and land for many years, until he had accumulated a substantial fortune and finally could afford to retire.〔〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 34/35.〕〔The New York Times: ''The World of Art: Daniel Gardner,'' 31 July 1921.〕 In particular Gardner was well known as a pastellist. However, towards the end of the 18th century he started to paint in a technique that included oil paint, crayons, gouache and pastel. This technique was later copied by several other painters like John Downman, John James Masquerier and Peter Romney (1743–1777), the brother of George Romney. However, large paintings Gardner painted in oil only. These are rare and do not often appear on the art market.〔〔 According to an original letter from Daniel Gardner, dated: London, 12 November 1779, and now preserved in the ''J. H. Anderdon Collection'' in the British Museum, Gardner painted his very first oil painting in 1779. Gardner speaks in this letter of an oil picture that he had just completed, as "absolutely the first oil picture that I ever finished." The gentleman shown on this very first oil picture was Philip Egerton of Oulton (1738–1786), bareheaded, and holding a hoe in his hand.〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 31.〕 It is said that Daniel Gardner made many of his own colours from strange herbs, which he collected in the woods, and especially from powders which he made from bark and from fungi. However, the majority of the dry colours used by Gardner he appears to have obtained from ''Messrs. Robertson & Miller, 51. Long Acre, London,'' as there are many allusions to their prices in his notebooks.〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 30 .〕 Gardner hardly ever signed his works. As a result, his works were later, mainly in the 19th century, often attributed to his colleagues Joshua Reynolds or Thomas Gainsborough since they were better known within the general public.〔 However, this does not come as a surprise if one takes into account that Gardner worked with both, Joshua Reynolds as well as Thomas Gainsborough.〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 7.〕 Marion Spielmann, in his work on ''British Portrait Painting,'' speaks of the connection between Thomas Gainsborough and Daniel Gardner. Spielmann refers to the "facile elegance of Gardner's work, which brings him closer to Gainsborough," but goes on to say that "his handling was more deliberate and smoother than Gainsborough's, and wholly lacking, of course, in the feathery touches which the greater man came to adopt." "Perhaps," he adds, "the occasional looseness of Gainsborough's drawing was too easily identified with that of Gardner." Spielman, however, is bound to notice "the extraordinary carelessness and defiance of facial construction" that is characteristic of some of Gardner's pastels, and points out that Gainsborough could never have painted in that method, and could never have made such mistakes as Gardner made in his haste.〔Marion Henry Spielmann: ''British Portrait Painting to the Opening of the Nineteenth Century.'' London, Berlin Photographic Co. , 1910, Vol. II, p. 35.〕 Samuel Redgrave wrote about Daniel Gardner: "He had a nice perception of beauty and character, and composed with elegance."〔 And William Hayley wrote in his ''Essay on Painting,'' Epistle II:〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 18.〕 Let candid Justice our attention lead To the soft crayon of the graceful Read; Nor, Gardner, shall the Muse, in haste, forget Thy Taste and Ease; tho’ with a fond regret She pays, while here the Crayon’s pow’r she notes A sigh of homage to the Shade of Coates. The president of the Royal Cambrian Academy of Art in Conwy, Sir Cuthbert C. Grundy (1846–1946), together with his brother John R. G. Grundy († 1915) founder of the Grundy Art Gallery in Blackpool, considered Daniel Gardner the most successful English pastellist of the 18th century, surpassing Joshua Reynolds in freedom and spontaneity, and John Downman in attaining finer and richer colour.〔 Many of Gardners portraits were later engraved by engravers like Francis Haward (born 1759), his brother-in-law, Thomas Watson (1750–1781) 〔Timothy Clayton, Anita McConnell, ‘Watson, Thomas (1750–1781)’, Oxford Dictionary of National Biography, Oxford University Press, 2004〕 or William Ridley (1764–1838) or they were reproduced as mezzotints. From a financial point of view this was probably more lucrative for Gardner than the execution of the originals.〔〔 Since Daniel Gardner could afford to retire at the height of his fame he also got out of the public eye and was nearly forgotten as an artist when he died in 1805. It was not until 1911 when his name and fame again came back into public awareness when his great-granddaughter, Miss H. B. Gardner, sold his portrait of Elizabeth Haward, Gardner's sister-in-law, through Christie's for the then record price of 2.200 guineas to Mr. Adolph Hirsch. Gardner portrayed his sister-in-law in oil. This portrait is said to be one of Gardner's finest works.〔George Charles Williamson: ''Daniel Gardner, painter in pastel and gouache: A brief account of his life and works.'' John Lane, the bodley head, Vigo St., W, London 1921, p. 20.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Daniel Gardner」の詳細全文を読む スポンサード リンク
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