How did living in Bath change Thomas Gainsborough’s portrait style?

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Moving to Bath in 1759 required Thomas Gainsborough to cater to a more sophisticated clientele, which led him to adopt a more formal and elegant portrait style.1

This stylistic shift was primarily driven by his study of the works of Anthony Van Dyck at Wilton House. Gainsborough began incorporating Van Dyck’s influence into his official portraits, characterized by a "grand manner," dignified simplicity in design, and subtle, muted coloring.1

This evolution is evident in works such as Isabella Countess of Sefton and John, 4th Duke of Argyll. Furthermore, his iconic painting The Blue Boy reflects this period, as he depicted the subject in Van Dyck-style dress to pay homage to his artistic hero. While he maintained his individual approach when painting friends, his professional output in Bath became increasingly refined to meet the expectations of his fashionable sitters.1