Susan Sloman is an independent scholar and curator.

“Sloman is at her most illuminating when discussing the practical realities of studio practice [and] makes a convincing case for the significance of the relationship between Gainsborough and the viola-da-gamba player Carl Friedrich Abel.”—Kirsten Tambling, Apollo“Gainsborough in London offers a scholarly and readable appraisal of the artist’s masterpieces....It is, however, Sloman’s penetration of the man’s character and emotions that is most rewarding.”—Christopher Masters, World of Interiors“We must thank and congratulate Sloman on completing the second volume of what can only be described as the work of a lifetime. With her unparalleled knowledge of the artist and his œuvre, her curatorial experience, her archival discoveries and, not least, her visual acuity, she has enlarged our understanding and appreciation of an artist we thought we knew well until we completed our reading of both Gainsborough in Bath and Gainsborough in London. Together they have made an enduring contribution not only to Gainsborough scholarship but also to the study of British art of the eighteenth century.”—Duncan Robinson, The Burlington Magazine

Susan Sloman is an independent scholar and curator.

“Sloman is at her most illuminating when discussing the practical realities of studio practice [and] makes a convincing case for the significance of the relationship between Gainsborough and the viola-da-gamba player Carl Friedrich Abel.”—Kirsten Tambling, Apollo“Gainsborough in London offers a scholarly and readable appraisal of the artist’s masterpieces....It is, however, Sloman’s penetration of the man’s character and emotions that is most rewarding.”—Christopher Masters, World of Interiors“We must thank and congratulate Sloman on completing the second volume of what can only be described as the work of a lifetime. With her unparalleled knowledge of the artist and his œuvre, her curatorial experience, her archival discoveries and, not least, her visual acuity, she has enlarged our understanding and appreciation of an artist we thought we knew well until we completed our reading of both Gainsborough in Bath and Gainsborough in London. Together they have made an enduring contribution not only to Gainsborough scholarship but also to the study of British art of the eighteenth century.”—Duncan Robinson, The Burlington Magazine