更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 992 件 約書亞·雷諾茲 作品收录于我们的目录中
简而言之
在 約書亞·雷諾茲 留下的所有原作中，最著名的作品是 鲍尔斯小姐 (1775)。 紧随其后的是 Kitty Fisher as Cleopatra Dissolving the Pearl (1759) 和 Mary Horneck (1752 –1840), 'The Jessamy Bride', Later Mrs Francis Edward Gwyn (1775)。 我们的目录收录了 約書亞·雷諾茲 的 992 件作品；画廊完整保留了 100 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
在这幅创作于1775年的肖像画中，我们仿佛置身于一片幽静的林间，注视着一位名叫 简·鲍尔斯小姐 的 小女孩。她席地而坐，双臂温柔地环抱着一只神情安详的 黑白相间 的小狗。画面中流淌着一种深邃的静谧感，仿佛时间在此刻凝固，捕捉到了女孩望向我们时那温柔的眼神。她那件白色的连衣裙在领口与袖口处点缀着精致的蕾丝，在柔和的漫射光下闪烁，与背景中深邃茂密的植被形成了鲜明的明暗对比。整个构图自然而无拘无束，强调了孩子与宠物之间那份细腻而温情的纽带。
Sir Joshua Reynolds’ “Kitty Fisher as Cleopatra Dissolving the Pearl,” painted in 1759, is more than just a portrait; it's a carefully constructed tableau vivant—a frozen moment brimming with social commentary, romantic speculation, and the intoxicating allure of the Enlightenment. The painting immediately draws the viewer into a world of opulent intrigue, centered on Kitty Fisher, one of London’s most celebrated courtesans of the 1760s. Reynolds masterfully captures her captivating…
Sir Joshua Reynolds’s “Mary Horneck (1752 –1840), ‘The Jessamy Bride’, Later Mrs Francis Edward Gwyn” is more than just a portrait; it's a window into the life of a remarkable woman, a testament to her beauty and an enduring symbol of quiet strength. Painted in 1775, this captivating work captures Mary Horneck at a pivotal moment – poised on the cusp of marriage, embodying both youthful elegance and a subtle…
To gaze upon Sir Joshua Reynolds' masterpiece, Lady Delm and Her Children, is to step directly into an era of refined English aristocracy. Painted in 1780, this oil on canvas portrait transcends a mere depiction of family; it captures the very essence of domestic bliss filtered through the lens of high art. The scene unfolds with an undeniable warmth, presenting Lady Delm seated gracefully upon the ground, surrounded by her…
To gaze upon this magnificent portrait of Queen Charlotte is to step directly into the gilded drawing rooms of Georgian England. Painted in 1779, this work transcends a mere likeness; it is a carefully constructed monument to royal dignity and enduring feminine power. Sir Joshua Reynolds, at the zenith of his career, captured not just the physical presence of the Queen—her stately bearing, the intricate folds of her gown, or…
A Testament to Heroic Beginnings: Sir Joshua Reynolds’ *The Infant Hercules Strangling the Serpents* Sir Joshua Reynolds' monumental 1786 oil painting, *The Infant Hercules Strangling the Serpents*, housed within the esteemed State Hermitage Museum in Russia, is far more than a depiction of Greek mythology – it’s a powerful exploration of nascent strength, divine destiny, and the very essence of heroism. Measuring an impressive 303 x 297 cm, this work…
In this portrait from 1777, we find ourselves seated before a young girl who holds our attention with a remarkably steady gaze. She is dressed in a simple white gown, her long hair adorned with a delicate bow that rests softly against her locks. There is a certain stillness here, an absence of the grand theatricality often associated with the era's portraiture. Instead, she presents us with hands clasped gently…
To stand before this portrait of Charles Burney is to step directly into the polished drawing rooms of late eighteenth-century London. It is more than a mere likeness; it is a carefully constructed testament to status, intellect, and societal standing during the height of the Georgian era. The subject is rendered with an almost palpable sense of gravity, embodying the confidence and refined bearing expected of a man of letters…
To stand before this portrait is to step directly into the opulent drawing rooms of the mid-eighteenth century. It captures not merely the likeness of a man, but an entire epoch—the height of British maritime power and aristocratic refinement. Sir Joshua Reynolds, master chronicler of the Enlightenment elite, has rendered Captain the Honourable George Edgcumbe with a breathtaking verisimilitude that transcends simple portraiture. The gentleman is presented in attire that…
To stand before this portrait is to step directly into the gilded salons of 18th-century London, a world where status was meticulously curated and genius found its most enduring medium in oil paint. This exquisite depiction of Frederick North, later Lord North and 2nd Earl of Guilford, captures not merely a likeness, but an entire epoch—the height of Enlightenment refinement blended with the rigid formality of aristocratic power. The subject…
Laurence Sterne1760
12
白衣女士肖像1792 · SCAD Museum of Art
13
Mrs Tollemache as Miranda1774 · English Heritage
14
约翰·韦兰德夫人与她的儿子约翰1776 · Taft Museum of Art
15
Queen Charlotte Sophia of Mecklenburg-Strelitz. Wife of George III1765 · 斯泰恩斯博物馆艺术馆
16
Elizabeth (née Gunning), Baroness Hamilton of Hameldon and Duchess of Argyll1760 · 耶鲁英国艺术中心
17
Nathanial Cholmley (1721–1791), Lord of the Manor, Whitby Abbey1762 · Sewerby Hall Museum And Art Gallery
18
Robinetta1786
19
King George III of Great Britain1765 · 斯泰恩斯博物馆艺术馆
20
Lord Rockingham and Edmund Burke1766 · Fitzwilliam 学院
21
Called 'Johann Christoph Pepusch (1667–1752)'1749 · Royal College of Music
22
Jeremiah Dyson1760 · 议会艺术收藏馆
23
Portrait of the British Admiral Sir Edward Hughes (1717/1720–1794)1787 · 布达佩斯美术博物馆
24
The Right Honourable George Grenville (1712–1770), MP, as Chancellor of the Exchequer1767 · Petworth House
25
Portrait of Elizabeth Falconer, Mrs. Stanhope, as Contemplation1786
26
John Hunter (1728 1793)1789
27
教皇帕维亚里乌斯1775 · Guildhall Art Gallery
28
Self-Portrait1749 · 国家肖像美术馆
29
Elizabeth Kerr (1745 1780) Countess of Ancram, Later Marchioness of Lothian
30
Captain the Honourable John Byron (1723–1786)1759
31
The Strawberry Girl1773 · 威廉斯收藏馆
32
Mrs Catherine Heywood (1732–1784)1756
33
The Snake in the Grass (Love Unloosing the Zone of Beauty)1785
34
The Honorable Henry Fane (1739–1802) with Inigo Jones and Charles Blair1761 · 大都会艺术博物馆
35
George III (1738–1820)1779
36
Captain Charles Proby (1725–1799)1753 · 皇家阿尔伯特纪念博物馆
37
Captain Adam Duncan (1731–1804), Later Admiral Duncan and 1st Viscount of Camperdown1750 · 苏格兰国家美术馆
38
Lady Lepell Phipps (1723–1780), and Her Son, Charles ( ) (1753–1786)1758
39
James Paine Architect and His Son James1764
40
Lord Robert Spencer1769
41
Mrs Angelo1760 · Fitzwilliam 学院
42
Elizabeth Linley, Mrs Richard Brinsley Sheridan as Saint Cecilia1775
43
Alexander Douglas Hamilton (1767–1852), Later 10th Duke of Hamilton and 7th Duke of Brandon1782
44
Miss Nelly O'Brien1762 · 威廉斯收藏馆
45
Mrs. Robinson1784 · 耶鲁英国艺术中心
46
Dr John Ash (1723 1798)1788 · 伯明翰博物馆与美术馆
47
David Garrick (1716–1779), between Tragedy and Comedy1761
48
Mr William James1758
49
Lady Anstruther1763 · 曼彻斯特艺术馆
50
John Frederick Sackville (1745–1799), 3rd Duke of Dorset, KG1769 · National Trust
51
Major General Stringer Lawrence, Commander in Chief in the East Indies1761 · 英国图书馆
52
Lady Elizabeth 'Betty' Hamilton1758 · 国家美术馆
53
Warren Hastings1768 · 国家肖像美术馆
54
Sir Watkin Williams-Wynn and his Mother1769
55
Edmund Malone1786 · 国家肖像美术馆
56
Commodore Sir William James (1721–1783)1784 · 国家海事博物馆
57
Continence of Scipio1789
58
Lady Hertford1781 · Temple Newsam House
59
Richard Robinson (1709–1794), DD1779 · 巴伯美术学院
60
The Honourable Sir John Cust (1718–1770), 3rd Bt of Pinchbeck and 6th Bt of Humby, in Speaker's Robes1761 · National Trust
61
Scyacust Ukah1762
62
Edmund Burke (1729–1797), Statesman, Orator and Author1774
63
George III1759
64
Samuel Johnson (1709-1784)哈佛艺术博物馆
65
John Murray, 4th Earl of Dunmore1765
66
Charity1777 · 阿什莫利博物馆
67
Macbeth and the Witches1786 · Petworth House
68
Lady Sunderlin1786
69
Cupid Untying the Zone of Venus1788
70
Sir Thomas Harrison (1701–1765), Chamberlain of London1758 · Guildhall Art Gallery
71
Henry Loftus (1709–1783), 1st Earl of Ely, and His Wife Frances Monroe (d.1821), Countess of Ely1775 · Upton House
72
Portrait of a Young Woman (called 'Miss Axford', reputedly Hannah Lightfoot, 1730–c.1759, Mrs Axford, 'The Fair Quakeress')1756 · National Trust
73
Sir Walter Calverley Blackett (1707–1777), 2nd Bt1762 · Wallington National Trust
74
Samuel Johnson (1709–1784)1769 · National Trust
75
The Ladies Amabel and Mary Jemima Yorke1761
76
The 4th Duke of Queensberry ('Old Q') as Earl of March1759 · 威廉斯收藏馆
77
John Parker II1771 · Saltram House
78
Percivall Pott (1714–1788), Surgeon1784 · 圣巴塞洛缪医院博物馆与档案馆
79
Master Henry Hoare1788 · 托莱多艺术博物馆
80
Admiral Paul Henry Ourry (1719–1783), MP, with 'Jersey'1748 · National Trust
81
Mrs Froude, née Phyllis Hurrell1762 · 明尼阿波利斯艺术博物馆
82
Doctor Johnson Arguing1770
83
John Manners (1721 1770), Marquess of Granby1774 · 剑桥大学博物馆
84
Miss Jane Bowles (1772–1812)1775 · Victoria Art Gallery
85
Self Portrait1788 · English Heritage
86
A Little Girl (possibly Lady Frances Scott, 1750–1817, Later Lady Douglas)1759 · 苏格兰国家美术馆
87
The Cottagers1788 · 底特律艺术学院
88
Mrs. Richard Paul Jodrell1774 · 底特律艺术学院
89
Maria Marow Gideon and her Brother, William1787 · Barber Institute of Fine Arts
90
Self-Portrait1775 · 乌菲兹美术馆
91
George James Cholmondeley (1752 1830)1790 · Felbrigg Hall
92
简·布拉迪尔夫人1788 · 威廉斯收藏馆
93
Miss Jane Bowles1775 · 威廉斯收藏馆
94
Saint John the Baptist in the Wilderness1776 · 威廉斯收藏馆
95
弗朗西斯·芬奇夫人1782 · 维多利亚州国立美术馆
96
Lieutenant Robert Haswell, RN (son of John Haswell of Tiverton, Devon)1747 · The New Art Gallery Walsall
97
Lady Dorothea Harrison (1702–1773)1758 · Guildhall Art Gallery
98
An Officer on Horseback1760 · 达尔威奇画廊
99
The 'Out of Town' Party1761 · 布里斯托博物馆与美术馆
100
Sir Charles Pratt, Later Lord Camden1764 · Guildhall Art Gallery
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 約書亞·雷諾茲 的作品 | 此列表中的画作 |
|---|---|---|---|
 威廉斯收藏馆 |
伦敦 | 22 | The Strawberry Girl, Miss Nelly O'Brien, The 4th Duke of Queensberry ('Old Q') as Earl of March |
 Guildhall Art Gallery |
伦敦 | 5 | 教皇帕维亚里乌斯, Sir Thomas Harrison (1701–1765), Chamberlain of London, Lady Dorothea Harrison (1702–1773) |
 国家肖像美术馆 |
伦敦 | 21 | Self-Portrait, Warren Hastings, Edmund Malone |
 Petworth House |
Petworth | 12 | Frederick North (1732–1792),Later Lord North, then 2nd Earl of Guilford, KG, FSA, The Right Honourable George Grenville (1712–1770), MP, as Chancellor of the Exchequer, Macbeth and the Witches |
 English Heritage |
伦敦 | 9 | Kitty Fisher as Cleopatra Dissolving the Pearl, Mrs Tollemache as Miranda, Self Portrait |
 National Trust |
Sevenoaks | 9 | John Frederick Sackville (1745–1799), 3rd Duke of Dorset, KG, Portrait of a Young Woman (called 'Miss Axford', reputedly Hannah Lightfoot, 1730–c.1759, Mrs Axford, 'The Fair Quakeress'), Samuel Johnson (1709–1784) |
 国家海事博物馆 |
伦敦 | 14 | Captain the Honourable George Edgcumbe, Commodore Sir William James (1721–1783) |
 耶鲁英国艺术中心 |
纽黑文 | 13 | Elizabeth (née Gunning), Baroness Hamilton of Hameldon and Duchess of Argyll, Mrs. Robinson |
选择一个年代，探索定义该时代的原创杰作。
To stand before this portrait is to step directly into the opulent drawing rooms of the mid-eighteenth century. It captures not merely the likeness of a man, but an entire epoch—the height of British maritime power and aristocratic refinement. Sir Joshua Reynolds, master chronicler of the Enlightenment elite, has rendered Captain the Honourable George Edgcumbe with a breathtaking verisimilitude that transcends simple portraiture. The gentleman is presented in attire that…
Sir Joshua Reynolds’ “Kitty Fisher as Cleopatra Dissolving the Pearl,” painted in 1759, is more than just a portrait; it's a carefully constructed tableau vivant—a frozen moment brimming with social commentary, romantic speculation, and the intoxicating allure of the Enlightenment. The painting immediately draws the viewer into a world of opulent intrigue, centered on Kitty Fisher, one of London’s most celebrated courtesans of the 1760s. Reynolds masterfully captures her captivating…
To stand before this portrait is to step directly into the gilded salons of 18th-century London, a world where status was meticulously curated and genius found its most enduring medium in oil paint. This exquisite depiction of Frederick North, later Lord North and 2nd Earl of Guilford, captures not merely a likeness, but an entire epoch—the height of Enlightenment refinement blended with the rigid formality of aristocratic power. The subject…
To gaze upon Sir Joshua Reynolds' masterpiece, Lady Delm and Her Children, is to step directly into an era of refined English aristocracy. Painted in 1780, this oil on canvas portrait transcends a mere depiction of family; it captures the very essence of domestic bliss filtered through the lens of high art. The scene unfolds with an undeniable warmth, presenting Lady Delm seated gracefully upon the ground, surrounded by her…
约书亚·雷诺兹爵士于1792年创作的《白衣女士肖像》，绝非仅仅是一幅容貌的写照；它更像是一幅精心构建的摄政时代优雅图卷。画中捕捉了一位年轻女性的身影，她极有可能是简·阿什顿小姐——尽管其确切身份至今仍带着一种令人着迷的神秘感，这反而增添了作品经久不衰的魅力——她静静地伫立在一个精致的居家环境中。作为英国艺术史上的泰斗及皇家艺术学院的首任院长，雷诺兹大师级地运用了他标志性的“盛大风格”（Grand Style），比起单纯的写实，他更倾向于追求理想化的美感与深邃的社会评论。这件作品的意义并不在于描绘一个女性，而是在呈现一种关于财富、教养以及那个时代年轻淑女所应具备的、经过精心修养的德行的视觉意象。
鲍尔斯小姐 (1775)。紧随其后的是 Kitty Fisher as Cleopatra Dissolving the Pearl (1759) 和 Mary Horneck (1752 –1840), 'The Jessamy Bride', Later Mrs Francis Edward Gwyn (1775)。
52岁：鲍尔斯小姐创作于1775年，約書亞·雷諾茲出生于1723年。
鲍尔斯小姐, Kitty Fisher as Cleopatra Dissolving the Pearl, Mary Horneck (1752 –1840), 'The Jessamy Bride', Later Mrs Francis Edward Gwyn, Lady Delm and her Children, Queen Charlotte (1744–1818), The Infant Hercules Strangling the Serpents, The Strawberry Girl, Charles Burney, Captain the Honourable George Edgcumbe 及 Frederick North (1732–1792),Later Lord North, then 2nd Earl of Guilford, KG, FSA。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 992 件 約書亞·雷諾茲 的作品，创作年代从 1747 年至 1792 年。
多见于 威廉斯收藏馆 (伦敦), Guildhall Art Gallery (伦敦) 及 国家肖像美术馆 (伦敦)。上方的博物馆列表列出了所有相关机构。
在 1760s 期间：本页 100 件作品中有 30 件创作于该时期，其中包含 Frederick North (1732–1792),Later Lord North, then 2nd Earl of Guilford, KG, FSA 件作品。
在本页面中，最早的作品创作于 Lieutenant Robert Haswell, RN (son of John Haswell of Tiverton, Devon) (1747)，最晚的创作于 白衣女士肖像 (1792)。
18th century (49), Portraiture (44) 及 Portrait (29)，共计 100 件作品。
Oil On Canvas，共计 83 件（本页共有 100 件作品）。
根据本页面的原作，新古典主义
The Strawberry Girl, Miss Nelly O'Brien 及 The 4th Duke of Queensberry ('Old Q') as Earl of March：威廉斯收藏馆, 伦敦收藏了本页中 6 件作品。
乔舒亚·雷诺兹于1723年7月16日出生在德文郡的普林斯顿。作为塞缪尔·雷诺兹牧师的第三个儿子，他自幼便生活在一个充满学术气息与智慧追求的家庭环境中，他的父亲曾担任普林斯顿自由文法学校的校长。这种浓厚的文化氛围，在那个宁静的小镇里，悄然塑造了这个少年早年的精神底色。他的姐姐玛丽·帕尔默同样是一位才华横溢的文人，以创作德文郡对话而闻名。正是这种家庭熏陶，为他日后职业生涯中的思想深度与人文素养奠定了坚实的文学与思考基础。
随着年龄的增长，艺术之路在他心中愈发清晰，这使他逐渐偏离了父亲所期望的学术研究之路。1740年，他移居伦敦，开始跟随肖像画家托马斯·哈德森学习绘画。这段学徒生涯一直持续到1743年。在那个时代，想要在专业的艺术工作室中获得一席之地，是一项需要大量资金支持的重大事业。幸运的是，他的姐姐玛丽提供了60英镑来支付他的学徒费用，这一慷慨的举动让他能够全身心地投入到繁忙的伦敦艺术生活中，在繁华的首都苦练技艺，精研绘画的各项技术要领。
在1750年至1752年间，乔舒亚·雷诺兹踏上了前往意大利的艺术之旅。这段求学岁月让他得以沉浸在古典大师们的杰作之中，深度汲取了那些将定义他日后艺术生涯的技法与构图精髓。当他重返英伦时，心中已对英国艺术如何超越单纯的形似有了清晰的愿景。他开始倡导一种被称为“盛大风格”（Grand Style）的创作方法——这是一种试图升华现实的绘画方式。他不再拘泥于记录每一个细微的瑕疵，而是专注于对不完美之物的理想化处理，力求在画中人物身上寻得一种优雅与尊严。
这种艺术追求是当时旨在确立历史画至高地位的宏大努力的一部分。乔舒亚·雷诺兹坚信，艺术应当追求超越日常生活的崇高境界，他经常运用“盛大风格”赋予肖像画一种厚重感与重要性。他渴望他的画作不仅仅是描绘一张面孔，更是要通过一种更为精致、古典的视角，去传达人物的性格与社会地位。这种思维方式的转变，深刻地改变了英国社会对肖像画本质意义的认知。
到1768年，英国艺术界已迫切需要一种正式的组织架构，而乔舒亚·雷诺兹正处于这场变革的核心。他成为了皇家艺术学院的创始成员之一，这一机构旨在为英格兰的艺术才华提供一个归属之地。随着他被选为该学院的首任院长，他在学院内部的影响力得到了进一步巩固。这是一份承载着重大责任的职位，他一直担任此职直至逝世。他的领导力不仅确立了学院的地位，更使其成为了艺术家获得专业认可的核心支柱。
他对下一代画家的倾力培养，通过他每年发表的《演说词》（Discourses）得以体现。这些讲座是面向学院学生的艺术盛会，他在其中分享了对艺术理论的深刻见解以及对传统重要性的独到见解。他利用这些机会指引学生，敦促他们深入研究自然并精通绘画技艺。通过这些教诲，他为未来数十年的英国艺术教育奠定了方向。
随着职业成就的不断攀升，他在社会中的地位也日益显赫。1769年，国王乔治三世授予他爵位，这一举动彰显了王室对他的高度敬重。这份荣誉使他进入了英国社会的最顶层圈子，进一步巩固了他作为那个时代领军人物的崇高地位。
作为18世纪最杰出的肖像画家之一，乔舒亚·雷诺兹在启蒙时代英国的社会结构中占据着核心地位。他的画室不仅是艺术创作的场所，更成为了那个时代最具影响力人物的社交枢纽——从威名赫赫的军事英雄到显赫的贵族成员，皆汇聚于此。他拥有一种非凡的天赋，能够穿透简单的外貌轮廓，精准地捕捉到模特内在的性格特质与社会地位。这种将个人身份转化为视觉意象的卓越能力，使他成为那些试图在剧烈变迁的社会中定义自身地位者的首选艺术家。
1769年，随着乔治三世国王授予他爵位，他的职业地位达到了巅峰。这一殊荣不仅是对他绘画造诣的认可，更体现了他作为英国艺术界领军人物的崇高影响力。在处理委任创作时，他常常需要在模特的真实容貌与赞助人所期待的尊贵形象之间寻求完美的平衡。无论是描绘学者那沉静而深邃的专注，还是展现贵族那威严而从容的气场，他的作品都深刻地塑造了公众对那个时代领导阶层的认知与想象。
乔舒亚·雷诺兹对英国艺术走向的影响是极其深远的。他常被誉为变革英国艺术的大师，这一殊荣源于他能够彻底改变一个国家看待本土画家的视角。通过对历史画至高无上地位的捍卫以及对“盛大风格”的倡导，他将肖像画的重心从单纯的容貌记录，转向了对人物更具尊严感与智性深度的呈现。这种思维的转变，不仅提升了乔治时代英国艺术家的社会地位，更让他们从单纯的匠人，蜕变为受人尊敬的、活跃于当时知识分子圈层的专业艺术家。
他的影响力早已超越了他的有生年限，深刻塑造了后世艺术家的培养模式与审美视野。凭借其卓越的领导力以及富有洞见的艺术论述，他建立了一套延续数十年的艺术教育框架。他在艺术界的地位，有助于定义一种独特的民族艺术风格，确保了后继者们在追求卓越时拥有清晰的标杆。时至今日，他的作品依然是研究这一时代的核心，被珍藏于国家美术馆和国家肖像画馆等重要艺术机构之中。
