100-те най-известни картини на Джошуа Рейнолдс, селекция от галерията

Early Life, Family and Training

Sir Joshua Reynolds was born on 16 July 1723 in Plympton, Devon. He grew up as the third son of Reverend Samuel Reynolds, who served as the master of the Plympton Free Grammar School. The household was one of learning and intellectual pursuit, a setting that shaped the young boy's early years in the quiet town. His sister, Mary Palmer, was also a person of letters, known for her writing of Devonshire Dialogue. This family environment provided a foundation of literacy and thought that would follow him into his professional life.

The path toward art became clear as he grew, leading him away from the scholarly life his father might have expected. In 1740, he moved to London to begin an apprenticeship under the portrait painter Thomas Hudson. This period of training lasted until 1743. It was a significant undertaking that required financial support to secure his place in a professional studio. His sister Mary provided £60 to cover the costs of his pupillage, a gesture that allowed him to focus entirely on mastering the technical demands of his craft in the bustling capital.

Travels and the Grand Style

Between 1750 and 1752, Reynolds traveled to Italy. This period of study allowed him to immerse himself in the works of the Old Masters, absorbing the techniques and compositions that would define his later career. He returned to England with a clear vision for how British art could move beyond simple likenesses. He began to promote a method known as the 'Grand Style,' a way of painting that sought to improve upon reality. Rather than recording every flaw, he focused on the idealisation of the imperfect, seeking a sense of grace and dignity in his subjects.

This approach was part of a broader effort to establish the supremacy of history painting. Reynolds believed that art should reach for something higher than the everyday, often using the 'Grand Manner' to give his portraits a sense of weight and importance. He wanted his paintings to convey more than just a face; he wanted them to communicate character and status through a more refined, classical lens. This shift in thinking helped change how people viewed the purpose of a portrait in British society.

• Kitty Fisher as Cleopatra Dissolving the Pearl
• The Infant Hercules Strangling the Serpents

Leadership at the Royal Academy

By 1768, the landscape of British art was ready for a formal structure, and Reynolds was at the center of its creation. He became a founding member of the Royal Academy of Arts, an institution designed to provide a home for artistic talent in England. His influence within the Academy was solidified when he was chosen as its first President. This was a position of significant responsibility, one he held until his death. His leadership helped establish the Academy as a central pillar for the professional recognition of artists.

His commitment to the next generation of painters was expressed through his yearly Discourses. These were lectures delivered to the students of the Academy, where he shared his thoughts on artistic theory and the importance of tradition. He used these moments to guide students, urging them to study nature and master their technical skills. Through these teachings, he helped shape the direction of British art education for years to come.

His personal standing in society grew alongside his professional achievements. In 1769, King George III knighted him, a gesture that reflected the high regard in which he was held by the crown. This recognition brought him into the highest circles of British life, further cementing his status as a leading figure of his era.

Notable Portraiture and Commissions

As a leading portrait artist of the 18th century, Reynolds occupied a central place in the social fabric of Enlightenment Britain. His studio became a meeting point for the era's most influential figures, from military heroes to members of the aristocracy. He possessed a specific talent for looking past a simple likeness to find the character and social standing of those who sat for him. This ability to translate a person's status into a visual image made him a preferred choice for those seeking to define their place in a rapidly changing society.

His professional standing reached a peak when he was knighted by King George III in 1769. This recognition reflected his influence not only as a painter but as a figurehead of British artistic life. His commissions often required him to balance the individual's actual appearance with the dignified expectations of his patrons. Whether depicting the quiet intensity of a scholar or the commanding presence of a nobleman, his work helped shape how the public perceived the leaders of his time.

• Kitty Fisher as Cleopatra Dissolving the Pearl
• The 4th Duke of Queensberry as Earl of March
• Mrs. John Weyland and Her Son John
• The Ladies Waldegrave
• Portrait of a Lady in White

Legacy and Artistic Influence

The impact of Sir Joshua Reynolds on the direction of British art was profound. He was often called the master who revolutionised British Art, a title earned by his ability to change how a nation viewed its own painters. By championing the supremacy of history painting and the Grand Manner, he moved the focus of portraiture away from simple likeness toward a more dignified, intellectual representation of his subjects. This shift helped change the social standing of artists in Georgian England, moving them from the status of mere craftsmen to respected professionals within the intellectual circles of the day.

His influence reached far beyond his own lifetime, shaping the training and vision of subsequent generations of artists. Through his leadership and his written discourses, he established a framework for artistic education that would persist for years. His presence in the art world helped define a distinct national style, ensuring that the painters who followed him had a clear standard of excellence to strive toward. His works remain central to the study of this era, held in significant collections such as the National Gallery and the National Portrait Gallery Collection.

• Kitty Fisher as Cleopatra Dissolving the Pearl
• The Ladies Waldegrave
• Self-Portrait