Thomas Gainsborough in the context of "Socialite"

The landed gentry (also known as the squirearchy or simply gentry) is a largely historical British and Irish social class of landowners who could live entirely from rental income, or at least owned a country estate. The British element of the wider European class of gentry, while part of Britain's nobility and usually armigers, the gentry ranked below the British peerage in social status. Nevertheless, their economic base in land was often similar, and some of the landed gentry were wealthier than some peers. Many gentry were close relatives of peers, and it was not uncommon for gentry to marry into peerage. With or without noble title, owning rural land estates often brought with it the legal rights of the feudal lordship of the manor, and the less formal name or title of squire, in Scotland laird.

Generally lands passed by primogeniture, while the inheritances of daughters and younger sons were in cash or stocks, and relatively small. Typically the gentry farmed some of their land through employed managers, but leased most of it to tenant farmers. They also exploited timber and minerals (such as coal), and owned mills and other sources of income. Many heads of families also had careers in politics or the military, and the younger sons of the gentry provided a high proportion of the clergy, military officers, and lawyers. Successful burghers often used their accumulated wealth to buy country estates, with the aim of establishing themselves as landed gentry.

A sketch (ultimately from Greek σχέδιος – schedios, "done extempore") is a rapidly executed freehand drawing that is not usually intended as a finished work. A sketch may serve a number of purposes: it might record something that the artist sees, it might record or develop an idea for later use or it might be used as a quick way of graphically demonstrating an image, idea or principle. Sketching is the most inexpensive art medium.

Sketches can be made in any drawing medium. The term is most often applied to graphic work executed in a dry medium such as silverpoint, graphite, pencil, charcoal or pastel. It may also apply to drawings executed in pen and ink, digital input such as a digital pen, ballpoint pen, marker pen, water colour and oil paint. The latter two are generally referred to as "water colour sketches" and "oil sketches". A sculptor might model three-dimensional sketches in clay, plasticine or wax.

The art of the United Kingdom refers to all forms of visual art in or associated with the country since the formation of the Kingdom of Great Britain in 1707 and encompasses English art, Scottish art, Welsh art and Irish art, and forms part of Western art history. During the 18th century, Britain began to reclaim the leading place England had previously played in European art during the Middle Ages, being especially strong in portraiture and landscape art.

Increased British prosperity at the time led to a greatly increased production of both fine art and the decorative arts, the latter often being exported. The Romantic period resulted from very diverse talents, including the painters William Blake, J. M. W. Turner, John Constable and Samuel Palmer. The Victorian period saw a great diversity of art, and a far bigger quantity created than before. Much Victorian art is now out of critical favour, with interest concentrated on the Pre-Raphaelites and the innovative movements at the end of the 18th century.

Mr and Mrs Andrews is an oil on canvas portrait of about 1750 by Thomas Gainsborough, now in the National Gallery, London. Today it is one of his most famous works, but it remained in the family of the sitters until 1960 and was very little known before it appeared in an exhibition in Ipswich in 1927, after which it was regularly requested for other exhibitions in Britain and abroad, and praised by critics for its charm and freshness. By the post-war years its iconic status was established, and it was one of four paintings chosen to represent British art in an exhibition in Paris celebrating the Coronation of Queen Elizabeth II in 1953. Soon the painting began to receive hostile scrutiny as a paradigm of the paternalist and capitalist society of 18th-century England, but it remains a firm popular favourite.

The work is an unusual combination of two common types of painting of the period: a double portrait, here of a recently married couple, Robert and Frances Andrews, as well as a landscape view of the English countryside. Gainsborough's work mainly consisted of these two different genres, but their striking combination side-by-side in this extended horizontal format is unique in Gainsborough's oeuvre, and extremely rare for other painters. Conversation piece was the term for a group portrait that contained other elements and activities, but these normally showed more figures, seen engaged in some activity or in an interior, rather than a landscape empty of people.

William Hoare, RA (c. 1707 – 12 December 1792) was an English painter. From 1740 to 1759, he was the leading oil portraitist at Bath, Somerset until Thomas Gainsborough arrived in the town. Noted for his pastels, Hoare was a co-founder of the Royal Academy of Arts.

The Royal Academy Exhibition of 1784 was an art exhibition held at Somerset House in London between 26 April and 3 June 1784. It was the sixteenth annual Summer Exhibition of the Royal Academy of Arts.

The exhibition was marked by disputes and the absence of many of the leading painters of the era. George Stubbs and Joseph Wright of Derby had both been denied membership of the Academy. The latter responded by hosting his own successful private show. Most significantly, when the hanging committee refused to hang his royal portrait The Three Eldest Princesses to his satisfaction, Thomas Gainsborough withdrew it and all the other works he had planned to exhibit that year. This marked the second and final time he had withdrawn from the Academy and he submitted no further works for the remainder of his career.

Thomas Linley (17 January 1733 – 19 November 1795) was an English bass and musician active in Bath, Somerset. Born in Badminton, Gloucestershire, Linley began his musical career after he moved to Bath at age 11 and became apprentice to the organist Thomas Chilcot. After his marriage to Mary Johnson in 1752, Linley at first supported his wife and growing family predominantly as a music teacher. As his children grew and he developed their musical talent, he drew an increasing amount of income from their concerts while also managing the assembly rooms in Bath. When the new Bath Assembly Rooms opened in 1771, Linley became musical director and continued to promote his children's careers. He was eventually able to move to London with the thousands of pounds which he had amassed from their concerts.

Among Linley's students were his eight children (Elizabeth Ann, Thomas, Mary, Samuel, Maria, Ozias, William, and Jane), as well as tenor Charles Dignum, singer and actress Anna Maria Crouch, and novelist Frances Sheridan. Linley collaborated with his son Thomas in penning the comic opera The Duenna, with libretto by his son-in-law Richard Brinsley Sheridan.