Thomas Gainsborough (1727–1788), Portrait of Gainsborough Dupont (1754–1797), 1773, Oil on canvas, 52 × 39 cm, Waddesdon Manor, on loan from the Rothschild Foundation
Though it is often recounted—though not definitively proven—that Gainsborough’s last words in 1788 were, ‘We are all going to Heaven, and Van Dyck is of the party,’ this anecdote underscores the profound influence van Dyck had on his work. This impact is particularly evident in the refined portrayal of his nephew, Gainsborough Dupont, where the gentle treatment of facial features, the elegant lace collar, and the overall aristocratic air of the portrait mirror van Dyck’s style.
Antoon Van Dyck, who served as Charles I’s court painter in the 1630s, introduced the ‘grand manner’ style, characterised by its elegance, aristocratic poise, and sophisticated use of colour and composition. This approach left an indelible mark on English art, a legacy Gainsborough sought to continue. His depiction of Dupont, a carpenter’s son who was Gainsborough’s nephew and sole studio assistant, was so imbued with nobility that the painting was mistakenly identified for generations as a likeness of the 2nd Viscount Bateman.
In this portrait, Gainsborough’s fluid brushwork, particularly depicting clothing, demonstrates his ability to adapt and modernise van Dyck’s techniques. This not only reflects his desire to align himself with the great masters but also ensures that van Dyck’s influence continued to resonate in English portraiture long after his time.
