Mylands proud to partner with York Art Gallery
Mylands are proud to announce a new partnership with York Art Gallery as their Official Paint Partner. York Art Gallery is managed by the York Museums Trust, and its collection of paintings spans more than 600 years with works ranging from 14th century Italian panels and 17th century Dutch masterpieces, to Victorian narrative paintings and 20th century works by LS Lowry and David Hockney. Mylands have provided paint to the gallery for its latest exhibition, in a new partnership which reflects our heritage and passion for culture.
Twenty-five newly attributed Thomas Gainsborough (1727 – 1788) landscape drawings are on public display for the first time at York Art Gallery, as part of a major exhibition staged in collaboration with the Royal Collection Trust, the National Gallery of Ireland, and Nottingham Castle. The beautiful drawings, lent by Her Majesty The Queen from the Royal Collection, transform our understanding of Gainsborough’s approach to landscape drawing, which was to remain an enduring passion throughout his life. They are presented alongside related paintings and works on paper borrowed from collections across the UK and Ireland, including The National Gallery’s recently conserved masterpiece, ‘Cornard Wood’ (1748).
The exhibition is presented over three galleries with more than 40 works on show, and Mylands' paints beautifully set the tone for the gallery rooms which feature the stunning Crace™ No.16 and Blackout™ No.41.
Together, the artworks displayed shed new light on Gainsborough’s early landscape practice and the techniques which made him one of the country’s most significant and influential artists. The exhibition also showcases the UK premiere of the triptych ‘Clay, Peat, Cage’ (2015), three performances to camera by Yorkshire-based artists Jade Montserrat and Webb-Ellis.
At the heart of the hang are the twenty-five landscape drawings that were recently discovered to be by Gainsborough, all of which were made in the early part of his career, between about 1746-50, when he was painting the Suffolk landscape. It explores several themes, including Gainsborough’s early drawing practice both in the open air and in the studio, and the process of using drawings to create finished paintings.