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List of paintings by Anthony van Dyck |
Notes |
References |
Sources |
Brown, Christopher: Van Dyck 1599–1641. Royal Academy Publications, 1999. ISBN 0-900946-66-0 |
Cust, Lionel (1899). "Van Dyck, Anthony" . Dictionary of National Biography. Vol. 58. pp. 104–111. |
Wood, Jeremy (27 May 2010). "Dyck, Sir Anthony Van (1599–1641)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/28081. (Subscription or UK public library membership required.) |
External links |
The Oliver Millar Archive; research papers of Oliver Millar, British art historian and a leading authority on Anthony van Dyck |
The National Portrait Gallery: Van Dyck |
Peter Paul Rubens. "Sir Anthony Van Dyck". Royal Collection Trust. Inventory no. 404429. |
Jordaens Van Dyck Panel Paintings Project |
Sir Joshua Reynolds (16 July 1723 – 23 February 1792) was an English painter who specialised in portraits. Art critic John Russell called him one of the major European painters of the 18th century. He promoted the "Grand Style" in painting, which depended on idealisation of the imperfect. He was a founder and first pre... |
Early life |
Reynolds was born in Plympton, Devon, on 16 July 1723, as the third son of the Reverend Samuel Reynolds (1681–1745), master of the Plympton Free Grammar School in the town. His father had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university. |
One of his sisters, seven years his senior, was Mary Palmer (1716–1794), author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on Joshua as a boy. In 1740, she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshua's pupillage, and nine years late... |
As a boy, he also came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Reynolds made extracts in his commonplace book from Theophrastus, Plutarch, Seneca, Marcus Antonius, Ovid, William Shakespeare, John Milton, Alexander Pope, John Dryden, Joseph Addison, Richard Stee... |
Career |
Having shown an early interest in art, Reynolds was apprenticed in 1740 to the fashionable London portrait painter Thomas Hudson, who like Reynolds had been born in Devon. Hudson had a collection of Old Master drawings, including some by Guercino, of which Reynolds made copies. Although apprenticed to Hudson for a per... |
In 1749, Reynolds met Commodore Augustus Keppel, who invited him to join HMS Centurion, of which he had command, on a voyage to the Mediterranean. While with the ship he visited Lisbon, Cadiz, Algiers and Minorca. From Minorca he travelled to Livorno in Italy, and then to Rome, where he spent two years, studying the Ol... |
Reynolds travelled homeward overland via Florence, Bologna, Venice, and Paris. He was accompanied by Giuseppe Marchi, then aged about 17. Apart from a brief interlude in 1770, Marchi remained in Reynolds' employment as a studio assistant for the rest of the artist's career. Following his arrival in England in October ... |
Alongside ambitious full-length portraits, Reynolds painted large numbers of smaller works. In the late 1750s, at the height of the social season, he received five or six sitters a day, each for an hour. By 1761, Reynolds could command a fee of 80 guineas for a full-length portrait; in 1764, he was paid 100 guineas for... |
The clothing of Reynolds' sitters was usually painted by either one of his pupils, his studio assistant Giuseppe Marchi, or the specialist drapery painter Peter Toms. James Northcote, his pupil, wrote of this arrangement that "the imitation of particular stuffs is not the work of genius, but is to be acquired easily by... |
Reynolds often adapted the poses of his subjects from the works of earlier artists, a practice mocked by Nathaniel Hone in a painting called The Conjuror submitted to the Royal Academy exhibition of 1775, and now in the collection of the National Gallery of Ireland. It shows a figure representing, though not resembling... |
Although not known principally for his landscapes, Reynolds did paint in this genre. He had an excellent vantage from his house, Wick House, on Richmond Hill, and painted the view in about 1780. |
Reynolds also was recognised for his portraits of children. He emphasised the innocence and natural grace of children when depicting them. His 1788 portrait, Age of Innocence, is his best known character study of a child. The subject of the painting is not known, although suggestions include Theophila Gwatkin, his grea... |
The Club |
Reynolds worked long hours in his studio, rarely taking a holiday. He was gregarious and keenly intellectual, with many friends from London's intelligentsia, numbered among whom were Dr Samuel Johnson, Oliver Goldsmith, Edmund Burke, Giuseppe Baretti, Henry Thrale, David Garrick, and artist Angelica Kauffman, exchangin... |
Because of his popularity as a portrait painter, Reynolds enjoyed constant interaction with the wealthy and famous men and women of the day, and it was he who brought together the figures of "The Club". It was founded in 1764 and met in a suite of rooms on the first floor of the Turks Head at 9 Gerrard Street, now mark... |
Royal Academy |
Reynolds was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists of Great Britain, and in 1768 became the first president of the Royal Academy of Arts, a position he was to hold until his death. In 1769, he was knighted by George III, only the second English artist to be so hon... |
Reynolds and the Royal Academy received a mixed reception. Critics included William Blake who published the vitriolic Annotations to Sir Joshua Reynolds' Discourses in 1808. J. M. W. Turner and Northcote were fervent acolytes: Turner requested he be laid to rest at Reynolds' side, and Northcote, who spent four years as... |
In 2018, the Royal Academy of Arts celebrated its 250th anniversary from its opening in 1768. This became an impetus for galleries and museums across the UK to celebrate "the making, debating and exhibiting art at the Royal Academy". Waddesdon manor was amongst the historic houses that supported Sir Joshua Reynolds's i... |
[He] transformed British painting with portraits and subject pictures that engaged their audience's knowledge, imagination, memory and emotions... As an eloquent teacher and art theorist, he used his role at the head of the Royal Academy to raise the status of art and artists of Britain. |
Lord Keppel |
In the Battle of Ushant against the French in 1778, Lord Keppel commanded the Channel Fleet and the outcome resulted in no clear winner; Keppel ordered the attack be renewed and was obeyed except by Sir Hugh Palliser, who commanded the rear, and the French escaped bombardment. A dispute between Keppel and Palliser aros... |
Principal Painter in Ordinary to the King |
On 10 August 1784, Allan Ramsay died and the office of Principal Painter in Ordinary to King George III became vacant. Thomas Gainsborough felt that he had a good chance of securing it, but Reynolds felt he deserved it and threatened to resign the presidency of the Royal Academy if he did not receive it. Reynolds noted... |
Lord Heathfield |
In 1787, Reynolds painted the portrait of Lord Heathfield, who became a national hero for the successful defence of Gibraltar in the Great Siege from 1779 to 1783 against the combined forces of France and Spain. Heathfield is depicted against a background of clouds and cannon smoke, wearing the uniform of the 15th Ligh... |
Later life |
In 1789, Reynolds lost the sight of his left eye, which forced him into retirement. In 1791 James Boswell dedicated his Life of Samuel Johnson to Reynolds. Reynolds agreed with Burke's Reflections on the Revolution in France and, writing in early 1791, expressed his belief that the ancien régime of France had fallen d... |
On 4 June 1791, at a dinner at the Freemasons' Tavern to mark the king's birthday, Reynolds drank to the toasts "GOD save the KING!" and "May our glorious Constitution under which the arts flourish, be immortal!", in what was reported by the Public Advertiser as "a fervour truly patriotick". Reynolds "filled the chair ... |
Later that month Reynolds suffered from a swelling over his left eye and had to be purged by a surgeon. In October he was too ill to take the president's chair and in November, Frances Burney recorded that I had long languished to see that kindly zealous friend, but his ill health had intimidated me from making the att... |
Doctors Richard Warren and Sir George Baker believed Reynolds' illness to be psychological and they bled his neck "with a view of drawing the humour from his eyes" but the effect, in the view of his niece, was that it seemed "as if the 'principle of life' were gone" from Reynolds. On New Year's Day 1792 Reynolds became... |
Reynolds died on 23 February 1792 at his house at 47 Leicester Fields in London between eight and nine in the evening. |
Burke was present on the night Reynolds died, and was moved within hours to write a eulogy of Reynolds, starting with the following sentiments: "Sir Joshua Reynolds was on very many accounts one of the most memorable men of his Time. He was the first Englishman who added the praise of the elegant Arts to the other Glor... |
Reynolds was buried at St Paul's Cathedral. In 1903, a statue, by Alfred Drury, was erected in his honour in the Annenberg Courtyard of Burlington House, home of the Royal Academy. Around the statue are fountains and lights, installed in 2000, arranged in the pattern of a star chart at midnight on the night of Reynolds... |
Personal characteristics |
In appearance Reynolds was not striking. Slightly built, he was about 5'6" tall with dark brown curls, a florid complexion and features that James Boswell thought were "rather too largely and strongly limned." He had a broad face and a cleft chin, and the bridge of his nose was slightly dented; his skin was scarred by ... |
In his mature years he suffered from deafness, as recorded by Frances Burney, although this did not impede his lively social life. Renowned for his placidity, Reynolds often claimed that he "hated nobody". This may be self-idealisation. It is well known that he disliked George Romney, whom he referred to only as "the m... |
Never quite losing his Devonshire accent, Reynolds was not only an amiable and original conversationalist, but a friendly and generous host, so that Frances Burney recorded in her diary that he had "a suavity of disposition that set everybody at their ease in his society", and William Makepeace Thackeray believed "of a... |
Some people, such as Hester Lynch Piozzi, construed Reynolds' equable calm as cool and unfeeling. It is to this lukewarm temperament that Frederick W. Hilles, Bodman Professor of English Literature at Yale attributes Reynolds' never having married. In the editorial notes of his compendium Portraits by Sir Joshua Reynol... |
Biographer Ian McIntyre discusses the possibility of Reynolds having enjoyed sexual relations with certain clients, such as Nelly O'Brien (or "My Lady O'Brien", as he playfully dubbed her) and Kitty Fisher, who visited his house for more sittings than were strictly necessary. Dan Cruickshank in his book London's Sinful... |
Regarding the British debate over the abolition of slavery, abolitionist Thomas Clarkson claimed that Reynolds stated his opposition to the Atlantic slave trade at a dinner with a group of friends with Clarkson present. Clarkson had shown the group samples of cloth produced in Africa, and Reynolds "gave his unqualified... |
The Reynolds Research Project |
In 2010, the Wallace Collection launched the Reynolds Research Project. With the support of the Paul Mellon Centre for Studies in British Art, and in partnership with the National Gallery and in collaboration with the Yale Center for British Art, work was undertaken to conserve the museum's portraits to improve their v... |
The purpose of an exhibition and accompanying catalogue, Joshua Reynolds: Experiments in Paint, 2015, was to share the discoveries of the project and to reveal Reynolds's complex and experimental engagement with painterly materials over the course of his long career. A series of thematic groupings of works from the col... |
As well as exploring his experimentation with materials, the project also revealed the innovative ways in which Reynolds collaborated with his patrons; played with the conventions of genre, composition and pose; engaged with the work of other artists; and organised the submission and display of his work at exhibitions.... |
Gallery |
Gallery of paintings by Reynolds |
See also |
English art |
Grand manner |
Mary Nesbitt, 18th-century courtesan who began her career as Reynolds' model. |
Martin Postle, an expert on Joshua Reynolds |
References |
Referenced books |
James Boswell, Life of Johnson (Oxford: Oxford University Press, 2008). |
Charles Robert Leslie and Tom Taylor, Life and Times of Sir Joshua Reynolds (London: John Murray, 1865, 2 volumes). |
Ian McIntyre, Joshua Reynolds. The Life and Times of the First President of the Royal Academy (London: Allen Lane, 2003). |
Martin Postle, "Reynolds, Sir Joshua (1723–1792)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, October 2009. Retrieved 24 September 2010. |
Further reading |
J. Blanc, Les Écrits de Sir Joshua Reynolds (Théorie de l'art (1400–1800) / Art Theory (1400–1800), 4), Turnhout, 2016, ISBN 978-2-503-54337-6 |
John Barrell, The Political Theory of Painting from Reynolds to Hazlitt (1986). |
A. Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds (1899–1901, 4 volumes). |
F. W. Hilles, The Literary Career of Sir Joshua Reynolds (1936). |
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