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Learn about the life and work of Sir Joshua Reynolds, an English painter who specialised in portraits and promoted the "Grand Style" in painting. Find out about his early influences, his travels, his career, his legacy and his notable works.
- Overview
- Early life
- Later years
Joshua Reynolds (born July 16, 1723, Plympton, Devon, England—died February 23, 1792, London) portrait painter and aesthetician who dominated English artistic life in the middle and late 18th century. Through his art and teaching, he attempted to lead British painting away from the indigenous anecdotal pictures of the early 18th century toward the ...
Reynolds attended the Plympton grammar school of which his father, a clergyman, was master. The young Reynolds became well read in the writings of classical antiquity and throughout his life was to be much interested in literature, counting many of the finest British authors of the 18th century among his closest friends. Reynolds early aspired to become an artist, and in 1740 he was apprenticed for four years in London to Thomas Hudson, a conventional portraitist and the pupil and son-in-law of Jonathan Richardson. In 1743 he returned to Devon and began painting at Plymouth naval portraits that reveal his inexperience. Returning to London for two years in 1744, he began to acquire a knowledge of the old masters and an independent style marked by bold brushwork and the use of impasto, a thick surface texture of paint, such as in his portrait of Captain the Honourable John Hamilton (1746).
Back in Devon in 1746, he painted a large group portrait of the Eliot family (c. 1746/47), which clearly indicates that he had studied the large-scale portrait of the Pembroke family (1634–35) by the Flemish Baroque painter Sir Anthony Van Dyck, whose style of portrait painting influenced English portraiture throughout the 18th century. In 1749 Reynolds sailed with his friend Augustus Keppel to Minorca, one of the Balearic Islands off the Mediterranean coast of Spain. A fall from a horse detained him for five months and permanently scarred his lip—the scar being a prominent feature in his subsequent self-portraits. From Minorca he went to Rome, where he remained for two years, devoting himself to studying the great masterpieces of ancient Greco-Roman sculpture and of Italian painting. The impressions that he retained from this visit were to inspire his paintings and his Discourses for the rest of his life, for he felt that it was by allying painting with scholarship that he could best achieve his ambition of raising the status of his profession back in England. While returning home via Florence, Bologna, and Venice, he became absorbed by the compositions and colour of the great Renaissance Venetian painters of the 16th century: Titian, Jacopo Tintoretto, and Paolo Veronese. The Venetian tradition’s emphasis on colour and the effect of light and shading had a lasting influence on Reynolds, and, although all his life he preached the need for young artists to study the sculptural definition of form characteristic of Florentine and Roman painters, his own works are redolent of the Venetian style.
In 1753 Reynolds settled in London, where he was to live for the rest of his life. His success was assured from the first, and by 1755 he was employing studio assistants to help him execute the numerous portrait commissions he received. The early London portraits have a vigour and naturalness about them that is perhaps best exemplified in a likeness of Honourable Augustus Keppel (1753–54). The pose is not original, being a reversal of the Apollo Belvedere, an ancient Roman copy of a mid-4th-century-bc Hellenistic statue Reynolds had seen in the Vatican. But the fact that the subject (who was a British naval officer) is shown striding along the seashore introduced a new kind of vigour into the tradition of English portraiture. In these first years in London, Reynolds’s knowledge of Venetian painting is very apparent in such works as the portraits of Lord Cathcart (1753/54) and Lord Ludlow (1755). Of his domestic portraits, those of Nelly O’Brien (1760–62) and of Georgiana, Countess Spencer, and her daughter (1761) are especially notable for their tender charm and careful observation.
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After 1760 Reynolds’s style became increasingly classical and self-conscious. As he fell under the influence of the classical Baroque painters of the Bolognese school of the 17th century and the archaeological interest in Greco-Roman antiquity that was sweeping Europe at the time, the pose and clothes of his sitters took on a more rigidly antique pattern, in consequence losing much of the sympathy and understanding of his earlier works.
There were no public exhibitions of contemporary artists in London before 1760, when Reynolds helped found the Society of Artists and the first of many successful exhibitions was held. The patronage of George III was sought, and in 1768 the Royal Academy was founded. Although Reynolds’s painting had found no favour at court, he was the obvious candidate for the presidency, and the king confirmed his election and knighted him. Reynolds guided the policy of the academy with such skill that the pattern he set has been followed with little variation ever since. The yearly Discourses that he delivered at the academy clearly mirrored many of his own thoughts and aspirations, as well as his own problems of line versus colour and public and private portraiture, and gave advice to those beginning their artistic careers.
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Joshua Reynolds (Plymouth, 16 de Julho de 1723 [1] – Londres, 23 de Fevereiro de 1792) [1] foi um pintor inglês retratista. [1] Reynolds foi um dos principais retratistas do século XVIII. [1] Sua técnica e habilidade influenciaram as gerações futuras de pintores retratistas.
Há 4 dias · Learn about the life and work of the leading English portraitist of the 18th century, who was also the first president of the Royal Academy. Explore his connections to slavery and abolition, and his paintings in the National Gallery collection.
Joshua Reynolds (Plymouth, 16 de Julho de 1723 – Londres, 23 de Fevereiro de 1792) foi um pintor inglês retratista. Reynolds foi um dos principais retratistas do século XVIII . Sua técnica e habilidade influenciaram as gerações futuras de pintores retratistas.
- British
- Plympton, United Kingdom
The Literary Works Of Sir Joshua Reynolds, First President Of The Royal Academy. To Which Is Prefixed, A Memoir Of The Author; With Remarks On His Professional Character, Illustrative Of His Principles And Practice.
13 de mar. de 2024 · Learn about Sir Joshua Reynolds (1723–1792), one of the major European painters of the 18th century and the first president of the Royal Academy of Arts. Explore his artworks, self-portraits and his influence on other artists.
