Harvest Wagon. The Harvest Wagon is the name of two paintings by the English artist Thomas Gainsborough.
The first was done around 1767 and is today owned by the Barber Institute of Fine Arts, in Birmingham, England. The later painting was done around 1784 and is part of the collection of the Art Gallery of Ontario.
The later painting is the better known of the two. It was donated to the Art Gallery of Ontario by Frank P Wood.
It is one of the most prominent pieces in the collection of the AGO. 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 Bath, 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. 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 work. He also sees more influence of Rubens on Gainsborough's style and technique, particularly of Rubens's The Descent from the Cross. The wo
The first was done around 1767 and is today owned by the Barber Institute of Fine Arts, in Birmingham, England. The later painting was done around 1784 and is part of the collection of the Art Gallery of Ontario.
The later painting is the better known of the two. It was donated to the Art Gallery of Ontario by Frank P Wood.
It is one of the most prominent pieces in the collection of the AGO. 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 Bath, 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. 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 work. He also sees more influence of Rubens on Gainsborough's style and technique, particularly of Rubens's The Descent from the Cross. The wo
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