Joshua Reynolds
Sir Joshua Reynolds was an English painter who specialised in portraits. The art critic John Russell called him one of the major European painters of the 18th century, while Lucy Peltz says he was "the leading portrait artist of the 18th-century and arguably one of the greatest artists in the history of art." He promoted the "Grand Style" in painting, which depended on idealisation of the imperfect. He was a founder and first president of the Royal Academy of Arts and was knighted by George III in 1769. He has been referred to as the 'master who revolutionised British Art.'
Reynolds had a famously prolific studio that produced over 2,000 paintings during his lifetime. Ellis Waterhouse estimated those works the painter did 'think worthy' at 'hardly less than a hundred paintings which one would like to take into consideration, either for their success, their originality, or their influence.' Of these, Portrait of Omai is probably his best known work and has been described by Simon Schama as "one of the greatest things British art has ever produced one of the all time, timeless masterpieces that painting can produce." Waterhouse considered The Marlborough Family as 'the most monumental achievement of British portraiture' and that 'Reynolds' genius came to full flower in the diversity and geniality he was able to give to his full-length portraits' like Portrait of Philip Gell and Portrait of the Earl of Carlisle.
Thomas Lawrence rated Sarah Siddons as the Tragic Muse as "indisputably the finest female portrait in the world." adds that Portrait of Robert Orme was 'surely one of the great eighteenth-century European portraits.' The price paid for the exceptional Portrait of Omai in 2023 was £50 million – far more than had ever been paid for an 18th-century picture. This was followed two years later by the sale of the iconic full-length Portrait of Lady Worsley for £25 million. Also in 2025, the full-length Portrait of Mrs. Lloyd was acquired by the National Trust for acceptance in lieu of tax of £17.5 million by H M Government Jonathan Jones says 'that puts Reynolds in the superstar category, way beyond his contemporaries, and competing with the likes of Damien Hirst and Lucian Freud.' 'Reynolds is not remote or staid at all. He's the portraitist of the Enlightenment, a daring artist who captured a daring age.'
Early life
Reynolds was born in Plympton, Devon, on 16 July 1723, as the third son of the Reverend Samuel Reynolds, 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, 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 later advanced money for his expenses in Italy. His other siblings included Frances Reynolds and Elizabeth Johnson.
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 Steele, and Aphra Behn and copied passages on art theory by Leonardo da Vinci, Charles Alphonse Du Fresnoy, and André Félibien. The work that came to have the most influence on Reynolds was Jonathan Richardson's An Essay on the Theory of Painting. Reynolds' annotated copy was lost for nearly two hundred years until it appeared in a Cambridge bookshop, inscribed with the signature "J. Reynolds Pictor". It is now in the collection of the Royal Academy of Arts, London.
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 period of four years, Reynolds remained with him only until the summer of 1743. Having left Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock. 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.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, Cádiz, Algiers and Minorca. From Minorca he travelled to Livorno in Italy, and then to Rome, where he spent two years, studying the Old Masters and acquiring a taste for the "Grand Style". Lord Edgcumbe, who had known Reynolds as a boy and 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. While in Rome he suffered a severe cold, which left him partially deaf, and, as a result, he began to carry the small ear trumpet with which he is often pictured.
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 1752, Reynolds spent three months in Devon before establishing himself in London the following year and remaining there 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. He achieved success rapidly, and was extremely prolific. Lord Edgecumbe recommended William Cavendish, 3rd Duke of Devonshire and Charles FitzRoy, 2nd Duke of Grafton to sit for him, and other peers followed, including Prince William, Duke of Cumberland, third son of George II, in whose portrait, according to Nicholas Penny "bulk is brilliantly converted into power". 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.
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 a portrait of Lord Burghersh.
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 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." Lay figures were used to model the clothes.
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.
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 great-niece, and Lady Anne Spencer, the youngest daughter of George Spencer, 4th Duke of Marlborough.
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 Samuel Johnson, Oliver Goldsmith, Edmund Burke, Giuseppe Baretti, Henry Thrale, David Garrick, and artist Angelica Kauffman, exchanging his portrait of her for a portrait of him by 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. He is always under some planet".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, Bennet Langton, Topham Beauclerk, Goldsmith, Anthony Chamier, Thomas Hawkins, and Christopher Nugent, to be joined by Garrick, Boswell, and Richard Brinsley 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.
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 honoured. His Discourses, a series of lectures delivered at the academy between 1769 and 1790, are remembered for their sensitivity and perception. In one lecture, he expressed 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'.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 Reynolds' pupil, wrote to his family: "I know him thoroughly, and all his faults, I am sure, and yet almost worship him."
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 influence at the academy, acknowledging how:
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.