9/8/13 Joshua Reynolds - Wikipedia, the free encyclopedia

Joshua Reynolds
From Wikipedia, the free encyclopedia

Sir Joshua Reynolds RA FRS FRSA (16 July 1723

23 February 1792) was an influential eighteenth-century Sir Joshua Reynolds
English painter, specialising in portraits and promoting the
"Grand Style" in painting which depended on idealization
of the imperfect. He was one of the founders and first
president of the Royal Academy, and was knighted by
George III in 1769.

Contents
1 Early life
2 Career
2.1 The Club
2.2 Royal Academy
2.3 Lord Keppel Self-portrait
2.4 Principal Painter in Ordinary to the Birth name Joshua Reynolds
King Born 16 July 1723
2.5 Lord Heathfield Plympton
2.6 Later life Died 23 February 1792 (aged 68)
3 Appearance London
4 Gallery Nationality English
5 Notes Field Painter
6 References
7 Further reading
8 External links
8.1 Paintings
8.2 Writings
9 See also

Early life
Reynolds was born in Plympton, Devon, on 16 July 1723[1] the third son of the Rev. Samuel Reynolds, master
of the Free Grammar School in the town. Samuel Reynolds had been a fellow of Balliol College, Oxford, but
did not send any of his sons to the university.[2] One of his sisters was Mary Palmer (17161794), seven years
his senior, author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on
him when a boy. In 1740 she provided 60, half of the premium paid to Thomas Hudson the portrait-painter,
for Joshua's pupilage, and nine years later advanced money for his expenses in Italy.[3]

As a boy, he 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 Steele,
Aphra Behn, and passages on art theory by Leonardo da Vinci, Charles Alphonse Du Fresnoy, and Andr

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Flibien.[1] The work that came to have the most influential impact on Reynolds was Jonathan Richardson's An
Essay on the Theory of Painting (1715). Reynolds' annotated copy was lost for nearly two hundred years
until it appeared in a Cambridge bookshop, inscribed with the signature J. Reynolds Pictor.[1]

Career
Having shown an early interest in art, Reynolds was apprenticed in 1740 to the
fashionable London portrait painter Thomas Hudson, who had been born in
Devon.[2] Hudson had a collection of old master drawings, including some by
Guercino, of which Reynolds made copies.[2] Although apprenticed to Hudson
for four years, Reynolds only remained with him until summer 1743.[2] Having left
Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock
(now Devonport). He returned to London before the end of 1744, but following
his father's death in late 1745 he shared a house in Plymouth Dock with his
sisters.[2]

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,[4] where he spent two Self-portrait, aged
[5]
years, studying the Old Masters and acquiring a taste for the "Grand seventeen, entitled, Uffizi
Style".[citation needed] Lord Edgecumbe, who had known Reynolds as a boy and Self-portrait
introduced him to Keppel, suggested he should study with Pompeo Batoni, the
leading painter in Rome, but Reynolds replied that he had nothing to learn from
him.[2] While in Rome he suffered a severe cold, which left him partially deaf, and, as a result, he began to carry
a small ear trumpet with which he is often pictured.

Reynolds travelled homeward overland via Florence, Bologna, Venice,[6] and Paris.[7] He was accompanied by
Giuseppe Marchi, then aged about 17.[8] Apart from a brief interlude in 1770, Marchi remained in Reynolds'
employment as a studio assistant for the rest of the artist's career.[8] Following his arrival in England in October
1752, Reynolds spent three months in Devon,[9] before establishing himself in London, where remained for the
rest of his life. He took rooms in St Martin's Lane, before moving to Great Newport Street, his sister Frances
acted as his housekeeper.[9] He achieved success rapidly, and was extremely prolific.[10] Lord Edgecumbe
recommended the Duke of Devonshire and Duke of Grafton to sit for him, and other peers followed, including
the Duke of Cumberland, third son of George II,[11] in whose portrait, according to Nicholas Penny "bulk is
brilliantly converted into power".[11] In 1760 Reynolds moved into a large house, with space to show his works
and accommodate his assistants, on the west side of Leicester Fields (now Leicester Square).[12]

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.[11] By 1761 Reynolds
could command a fee of 80 guineas for a full-length portrait; in 1764 he was paid 100 guineas for a portrait of
Lord Burghersh.[13]

The clothing of Reynolds' sitters was usually painted either by one of his pupils,[14] his studio assistant Giuseppe
Marchi,[15] or the specialist drapery painter Peter Toms.[14] 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
practice, and this was what his pupils could do by care and time more than he himself chose to bestow; but his
own slight and masterly work was still the best."[14] Lay figures were used to model the clothes.[11]

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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,
Reynolds, seated in front of a cascade of prints from which Reynolds had borrowed with varying degrees of
subtlety.[16]>

Although not principally known 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.[17]

Reynolds also was recognized for his portraits of children. He

emphasized 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 conjecture includes Theophila Gwatkin, his great
niece, and Lady Anne Spencer, the youngest daughter of the fourth
Duke of Marlborough.

The Club

The Age of Innocence c.1785/8. Reynolds worked long hours in his studio, rarely taking a holiday. He
Reynolds emphasized the natural was gregarious and keenly intellectual, with many friends from
grace of children in his paintings London's intelligentsia, numbered amongst whom were Dr Samuel
Johnson, Oliver Goldsmith, Edmund Burke, Giuseppe Baretti, Henry
Thrale, David Garrick, and artist Angelica Kauffman. Johnson said in
1778: "Reynolds is too much under Fox and Burke at present. He is under the Fox star and the Irish
constellation [meaning Burke]. He is always under some planet".[18]

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
marked by a plaque. Original members included Burke, Langton, Beauclerk, Goldsmith, Chamier, Hawkins,
and Nugent, to be joined by Garrick, Boswell, and Sheridan. In ten years the membership had risen to 35. The
Club met every Monday evening for supper and conversation and continued into the early hours of Tuesday
morning. In later years, it met fortnightly during Parliamentary sessions. When in 1783 the landlord of the Turks
Head died and the property was sold, The Club moved to Sackville Street.[19]

Royal Academy

Reynolds was one of the earliest members of the Royal Society of Arts, helped found the Society of Artists,
and, with Gainsborough, established the Royal Academy of Arts, a spin-off organisation. In 1768 he was made
the Royal Academy's first president, a position he held until his death. As a lecturer, his Discourses (delivered
between 1769 and 1790) are remembered for their sensitivity and perception. In one lectures he was of the
opinion that "invention, strictly speaking, is little more than a new combination of those images which have been
previously gathered and deposited in the memory." William Jackson in his contemporary essays said of
Reynolds ' there is much ingenuity and originality in all his academic discourses, replete with classical knowledge
of his art, acute remarks on the works of others, and general taste and discernment'.[20]

Reynolds and the Royal Academy received a mixed reception. Critics include many Pre-Raphaelites, and
William Blake who published the vitriolic Annotations to Sir Joshua Reynolds' Discourses in 1808. J. M. W.
Turner and James Northcote were fervent acolytes: Turner requested he be laid to rest at Reynolds' side, and
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Northcote, who spent four years as Reynolds' pupil, wrote to his family "I know him thoroughly, and all his
faults, I am sure, and yet almost worship him."

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 arose and Palliser brought charges of misconduct and neglect
of duty against Keppel and the Admiralty decided to court-martial
him. On 11 February 1779 Keppel was acquitted of all charges and
became a national hero. One of Keppel's lawyers commissioned Sir
Nathaniel Dance-Holland to paint a portrait of Keppel but Keppel
redirected it to Reynolds. Reynolds alluded to Keppel's trial in the
painting by painting his hand on his sword, reflecting the presiding
officer's words at the court-martial: "In delivering to you your sword, I
am to congratulate you on its being restored to you with so much
honour".[21]
Lord Keppel (1779)
Principal Painter in Ordinary to the King

On 10 August 1784 Allan Ramsay died and the office of Principal Painter in Ordinary to the king became
vacant. 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 in his pocket
book: "Sept. 1, 2, to attend at the Lord Chancellor's Office to be sworn in painter to the King".[22] It did not
make Reynolds happy, however, as he wrote to Boswell: "If I had known what a shabby miserable place it is, I
would not have asked for it; besides as things have turned out I think a certain person is not worth speaking to,
nor speaking of", presumably meaning the king.[23] Reynolds wrote to Jonathan Shipley, Bishop of St Asaph, a
few weeks later: "Your Lordship congratulation on my succeeding Mr. Ramsay I take very kindly, but it is a
most miserable office, it is reduced from two hundred to thirty-eight pounds per annum, the Kings Rat catcher I
believe is a better place, and I am to be paid only a fourth part of what I have from other people, so that the
Portraits of their Majesties are not likely to be better done now, than they used to be, I should be ruined if I was
to paint them myself".[23]

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 Light
Dragoons and clasping the key of the Rock, its chain wrapped twice around his right hand.[24] John Constable
said in the 1830s that it was "almost a history of the defence of Gibraltar".[1] Desmond Shawe-Taylor has
claimed that the portrait may have a religious meaning, Heathfield holding the key similar to St. Peter (Jesus'
"rock") possessing the keys to Heaven, Heathfield "the rock upon which Britannia builds her military
interests".[1][25]

Later life

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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 rgime of France had
fallen due to spending too much time tending, as he puts it;

"to the splendor of the foliage, to the neglect of the stirring the earth about the roots. They
cultivated only those arts which could add splendor to the nation, to the neglect of those which
supported it They neglected Trade & substantial Manufacture...but does it follow that a total
revolution is necessary that because we have given ourselves up too much to the ornaments of life,
we will now have none at all".[26]

When attending a dinner at Holland House, Fox's niece Caroline was sat next to Reynolds and "burst out into
glorification of the Revolution and was grievously chilled and
checked by her neighbour's cautious and unsympathetic tone".[27]

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
with a most convivial glee".[28] He returned to town from Burke's
house in Beaconsfield and Edmond Malone wrote that "we left his
carriage at the Inn at Hayes, and walked five miles on the road, in a
warm day, without his complaining of any fatigue".[28]

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 Fanny Burney recorded that
Lord Heathfield (1787)
"I had long languished to see that kindly zealous friend, but his
ill health had intimidated me from making the attempt": "He had a bandage over one eye, and the
other shaded with a green half-bonnet. He seemed serious even to sadness, though extremely kind.
I am very glad, he said, in a meek voice and dejected accent, to see you again, and I wish I
could see you better! but I have only one eye now, and hardly that. I was really quite
touched".[29]

On 5 November Reynolds, fearing he might not have an opportunity to write a will, wrote a memorandum
intended to be his last will and testament, with Edmund Burke, Edmond Malone, and Philip Metcalfe named as
executors. On 10 November Reynolds wrote to Benjamin West to resign the presidency, but the General
Assembly agreed he should be re-elected, with Sir William Chambers and West to deputise for him.[30]

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
"seized with sickness" and from that point could not keep down food.[30] Reynolds died on 23 February 1792
at his house in 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:

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 eligant Arts to the other Glories of his
Country. In Taste, in grace, in facility, in happy invention, and in the richness and Harmony of
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colouring, he was equal to the great masters of the renowned Ages. In Pourtrait he went beyond
them; for he communicated to that description of the art, in which English artists are the most
engaged a variety, a Fancy, and a dignity derived from the higher Branches, which even those who
professed them a superior manner, did not always preserve when they delineated individual nature.
His Purtraits remind the Spectator of the Invention of History, and the amenity of Landscape. In
painting pourtraits, he appeared not to be raised upon that platform; but to descend to it from an
higher sphere. his paintings illustrate his Lessonsand his Lessons seem to be derived from his
Paintings.
He possessed the Theory as perfectly as the Practice of his Art. To be such a painter, he was a
profound and penetrating Philosopher.
In full affluence of foreign and domestick Fame, admired by the expert in art, and by the learned in
Science, courted by the great, caressed by Sovereign powers, and celebrated by distinguished
Poets, his Native humility, modesty and Candour never forsook him, even on surprise or
provocation, nor was the least degree of arrogance or assumption visible to the most scrutinizing
eye, in any part of his Conduct or discourse.
His talents of every kind powerful from Nature, and not meanly cultivated by Letters, his social
Virtues in all the relations, and all the habitudes of Life renderd him the center of a very great and
unparalleled Variety of agreeable Societies, which will be dissipated by his Death. He had too
much merit not to excite some Jealously; too much innocence to provoke any Enmity. The loss of
no man of his Time can be felt with more sincere, general, and unmixed Sorrow.
HAIL! AND FAREWELL![31]

Burke's tribute was well received and one journalist called it "the eulogium of Apelles pronounced by
Pericles".[32]

Reynolds was buried at St Paul's Cathedral.

Appearance
In appearance Reynolds was not striking. Slight, he was
about 5'6" with dark brown curls, a florid complexion and
features which 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 smallpox and his upper lip disfigured as a
result of falling from a horse as a young man. Edmond
Malone asserted that "his appearance at first sight impressed
the spectator with the idea of a well-born and well-bred
English gentleman."

Reynolds painted by American artist Gilbert

Stuart, oil on canvas, 1784

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Renowned for his placidity, Reynolds often claimed that he "hated nobody". Never quite losing his Devonshire
accent, he was not only an amiable and original conversationalist, but a friendly and generous host, so that Fanny
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 all the polite men of that age, Joshua Reynolds
was the finest gentleman." Dr. Johnson commented on the inoffensiveness of his nature; Edmund Burke
noted his "strong turn for humor". Thomas Bernard, who later became Bishop of Killaloe, wrote in his verses on
Reynolds:

"Dear knight of Plympton, teach me how

To suffer, with unruffled brow
And smile serene, like thine,
The jest uncouth or truth severe;
To such I'll turn my deafest ear
And calmly drink my wine.

Thou say'st not only skill is gained/

But genius too may be attained/
By studious imitation;
Thy temper mild, thy genius fine
I'll copy till I make them mine
By constant application.

Some construed Reynolds' equable calm as cool and unfeeling. Hester Lynch Piozzi's pen-portrait reads:

Of Reynolds what good shall be said? or what harm?

His temper too frigid; his pencil too warm;
A rage for sublimity ill understood,
To seek still for the great, by forsaking the good...

It is to this luke-warm 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
Reynolds, Hilles theorizes that "as a corollary one might say that he [Reynolds] was somewhat lacking in a
capacity for love", and cites Boswell's notary papers: "He said the reason he would never marry was that
every woman whom he liked had grown indifferent to him, and he had been glad he did not marry her."
Reynolds' own sister, Frances, who lived with him as housekeeper, took her own negative opinion further still,
thinking him "a gloomy tyrant". The presence of family compensated Reynolds for the absence of a wife; he
wrote on one occasion to his friend Bennet Langton, that both his sister and niece were away from home "so
that I am quite a bachelor". Biographer Ian McIntyre discusses the possibility of Reynolds having enjoyed
sexual rendezvous 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. Claims to this end are,
however, purely speculative.

Gallery

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Edward Cornwallis (1756) George Montagu-Dunk, 2nd Sarah Siddons as the Tragic
Earl of Halifax (1764) Muse, painting at The
Huntington, San Marino,
California

Commodore the Honourable Captain the Honourable Charles Lennox, 3rd Duke of
August Keppel, (Reynolds's Augustus Keppel in the pose Richmond, 1758
first portrait of Keppel), 1749 of the Apollo Belvedere, 1753

George Clive and his family Elizabeth, Lady Amherst, 1767 Colonel Acland and Lord
with an Indian maid, 1765 Sydney, The Archers, 1769.

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Jane, Countess of Lady Caroline Howard, 1778 Lady Elizabeth Delm and
Harrington, 1778 Her Children, 1779

Captain George K. H. Admiral Hood, 1783 The Age of Innocence, 1788

Coussmaker, 1782

Notes

1. ^ a b c d e Martin Postle, Reynolds, Sir Joshua (17231792) (http://www.oxforddnb.com/view/article/23429),

Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Oct 2009. Retrieved 24
Sep 2010.
2. ^ a b c d e f Penny, Nicholas (1986). "The Ambitious Man". Reynolds (Exhibition catalogue). Royal Academy of
Arts. pp. 1718.
3. ^ Lee, Elizabeth, Biography of Mary Palmer, Dictionary of National Biography, 18851900, Vol.43
4. ^ Leslie and Taylor 1865, volume 1, pp. 357
5. ^ Leslie and Taylor 1865, volume 1, p.39
6. ^ Leslie and Taylor 1865, volume 1, pp. 625
7. ^ Leslie and Taylor 1865, volume 1, p.86
8. ^ a b "Giuseppe Marchi". Reynolds (Exhibition catalogue). Royal Academy of Arts. 1986. p. 181.
9. ^ a b Leslie and Taylor 1865, volume 1, p.89
10. ^ Leslie and Taylor 1865, volume 1, p.102. His pocket book records him as painting 150 sitters in 1758 alone.
11. ^ a b c d Penny, Nicholas (1986). "The Ambitious Man". Reynolds (Exhibition catalogue). Royal Academy of
Arts. p. 22.
12. ^ Penny, Nicholas (1986). "The Ambitious Man". Reynolds (Exhibition catalogue). Royal Academy of Arts.
p. 24.
13. ^ The Times Sale Of The Vaile And Other Pictures 25 May 1903
14. ^ a b c Northcote:, James. The life of Sir Joshua Reynolds 2. p. 26.
15. ^ "Suzanna Beckford 1756". Tate Gallery. Missing or empty |url=(help); |accessdate=requires |url=
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(help)
16. ^ Newman, John (1986). "Reynolds and Hone". Reynolds (Exhibition catalogue). Royal Academy of Arts.
pp. 34454.
17. ^ "Local History RichmondHill]" (http://www.richmond.gov.uk/local_history_richmond_hill.pdf). London
Borough of Richmond.
18. ^ James Boswell, Life of Johnson (Oxford: Oxford University Press, 2008), p. 923.
19. ^ City of Westminster green plaques http://www.westminster.gov.uk/services/leisureandculture/greenplaques/
20. ^ Jackson, William The Four Ages including essays on various subjects ,Cadell & Davies , London 1798
21. ^ McIntyre, pp. 350353.
22. ^ McIntyre, p. 426.
23. ^ a b McIntyre, p. 427.
24. ^ McIntyre, p. 472.
25. ^ Desmond Shawe-Taylor, The Georgians: Eighteenth-Century Portraiture and Society (London: Barrie &
Jenkins, 1990), p. 49.
26. ^ McIntyre, p. 513.
27. ^ McIntyre, p. 487.
28. ^ a b McIntyre, p. 523.
29. ^ McIntyre, pp. 523524.
30. ^ a b McIntyre, pp. 524525.
31. ^ P. J. Marshall and John A. Woods (eds.), The Correspondence of Edmund Burke. Volume VII. January
1792August 1794 (Cambridge: Cambridge University Press, 1968), pp. 7576.
32. ^ McIntyre, p. 528.

References
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 (17231792) (http://www.oxforddnb.com/view/article/23429),
Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Oct 2009.
Retrieved 24 Sep 2010.

Further reading
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 (18991901, 4
volumes).
F. W. Hilles, The Literary Career of Sir Joshua Reynolds (1936).
Derek Hudson, Sir Joshua Reynolds: A Personal Study (1958).
J. Ingamells and J. Edgcumbe (eds.), The Letters of Sir Joshua Reynolds (2000).
E. Malone (ed.), The Works of Sir Joshua Reynolds (1798, 3 volumes).
D. Mannings, Sir Joshua Reynolds PRA, 172392 (1992).
J. Northcote, Memoirs of Sir Joshua Reynolds, knt. (181315).
J. Northcote, The Life of Sir Joshua Reynolds (1818, 2nd edition, 2 volumes).
Martin Postle, Joshua Reynolds: The Creation of Celebrity (Tate, 2005). ISBN 1-85437-564-4
Martin Postle, Sir Joshua Reynolds: The Subject Pictures (1995).
Martin Postle, Drawings of Joshua Reynolds.
R. Prochno, Joshua Reynolds (1990).
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E. K. Waterhouse, Reynolds (1941).

E. K. Waterhouse, Reynolds (1973).

External links
"Reynolds, Joshua". Dictionary of National Biography. London: Smith, Elder & Co. 18851900.
610 Paintings by Joshua Reynolds (http://www.bbc.co.uk/arts/yourpaintings/artists/joshua-reynolds) at
the BBC Your Paintings site
The National Gallery: Sir Joshua Reynolds (http://www.nationalgallery.org.uk/artists/sir-joshua-reynolds)
Works in the National Galleries of Scotland (http://www.nationalgalleries.org/collection/online_az/4:322/?
initial=R&artistId=4423&artistName=Sir%20Joshua%20Reynolds&submit=1)
Liverpoolmuseums.org.uk (http://www.liverpoolmuseums.org.uk/online/featuredartists/reynolds/)
GAC.culture.gov.uk (http://www.gac.culture.gov.uk/artist.aspx?id=112498)
Port Eliot House, home of the Earl of St. Germans contains many fine works by Reynolds, including a
rare view of Plymouth (http://www.porteliot.co.uk/features.php)
'Sir Joshua Reynolds: The Acquisition of Genius' exhibition at Plymouth City Museum and Art Gallery -
21 November 2009 to 20 February 2010 (http://www.plymouth.gov.uk/museumexhibitionsdisplays)
Frits Lugt, Les marques de collections de dessins & d'estampes, 1921 and its Supplement 1956, online
edition (http://www.marquesdecollections.fr/detail.cfm/marque/9371)

Paintings

Artcyclopedia: Sir Joshua Reynolds (http://www.artcyclopedia.com/artists/reynolds_sir_joshua.html)

National Portrait Gallery Collection (http://www.npg.org.uk/collections/search/person.php?
LinkID=mp03755&role=art)
Sir Joshua Reynolds at Olga's Gallery (http://www.abcgallery.com/R/reynolds/reynolds.html)
Sir Joshua Reynolds, A Complete Catalogue of His Paintings
(http://yalepress.yale.edu/yupbooks/book.asp?isbn=0300085338) (book-bound)

Writings

By Sir Joshua Reynolds**

Seven Discourses on Art at Project Gutenberg
Biographies
Sir Joshua Reynolds (http://www.gutenberg.org/ebooks/19009), by Estelle M. Hurll, from
Project Gutenberg

See also
Grand manner
English school of painting
Mary Nesbitt, eighteenth-century courtesan who began her career as Reynolds' model.
Martin Postle, an expert on Joshua Reynolds

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Court offices
Principal Painter in Ordinary to the
Preceded by Succeeded by
King
Allan Ramsay Thomas Lawrence
17841792

Cultural offices
President of the Royal Academy Succeeded by
New title
17681792 Benjamin West

Retrieved from "http://en.wikipedia.org/w/index.php?title=Joshua_Reynolds&oldid=571906449"

Categories: 1723 births 1792 deaths People from Plympton 18th-century English painters
Principal Painters in Ordinary Portrait artists Artist authors Royal Academicians Streathamites
Fellows of the Royal Society People associated with the Royal Society of Arts British knights
Burials at St Paul's Cathedral Deaths in London

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