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This splendid two-volume catalogue of the paintings of Sir Joshua Reynolds (1723–1792), the father of British portrait painting and first president of the Royal Academy, represents one of the most important scholarly projects of recent decades in the field of eighteenth-century British art. Reynolds’s paintings―well over two thousand―are scattered across the world in hundreds of public and private collections and libraries. The catalogue includes illustrations of nearly all of the artist’s works and offers a critical reexamination of each painting, taking full advantage of modern methods and the findings of conservation experts. David Mannings provides the entries for the portraits, and Martin Postle contributes the entries for Reynolds’s historical and fancy pictures. Taking into account two centuries of art criticism and the observations of leading modern authorities, the catalogue also considers such enlightening documents as the artist’s sitter-books and ledgers. It re-examines Reynolds’s studio practice and procedures, working methods, use of assistants and prices, and it delineates with new clarity the distinction between Reynolds’s work and that of his many followers and imitators.

An analysis of the work of the eighteenth-century English portrait painter considers his achievements in terms of his conscious quest for celebrity, placing his life in a social, political, and cultural context while exploring his friendships with the period's famous and notorious figures. Original.

That Sir Joshua Reynolds (1723-1792) became the most fashionable painter of his time was not simply due to his artistic gifts or good fortune. The art of pleasing, Richard Wendorf contends, was as much a part of Reynolds's success--in his life and in his work--as the art of painting. The author's examination of Reynolds's life and career illuminates the nature of eighteenth-century English society in relation to the enterprise of portrait-painting. Conceived as an experiment in cultural criticism, written along the fault lines that separate (but also link) art history and literary studies, Sir Joshua Reynolds: The Painter in Society explores the ways in which portrait-painting is embedded in the social fabric of a given culture as well as in the social and professional transaction between the artist and his or her subject. In addition to providing a new view of Reynolds, Wendorf's book develops a thoroughly new way of interpreting portraiture. Wendorf takes us into Reynolds's studio to show us the artist deploying his considerable social and theatrical skills in staging his sittings as carefully orchestrated performances. The painter's difficult relationship with his sister Frances (also an artist and writer), his complicated maneuvering with patrons, the manner in which he set himself up as an artist and businessman, his highly politicized career as the first president of the Royal Academy of Arts: as each of these aspects of Reynolds's practice comes under Wendorf's scrutiny, a new picture of the painter emerges--more sharply defined and fully fleshed than the Reynolds of past portraits, and clearly delineating his capacity for provoking ambivalence among friends and colleagues, and among viewers and readers today.

A deeply researched and elegantly written study on Sir Joshua Reynolds (1723-1792)―Georgian England’s most celebrated portraitist and the first president of the British Royal Academy of Arts―this lavishly illustrated volume explores all aspects of Reynolds’s portraiture. Mark Hallett provides detailed, compelling readings of Reynolds’s most celebrated and striking works, investigating the ways in which they were appreciated and understood in his own lifetime. Recovering the artist’s dynamic interaction with his sitters and patrons, and revealing the dramatic impact of his portraits within the burgeoning exhibition culture of late-18th-century London, Hallett also unearths the intimate relationship between Reynolds’s paintings and graphic art.  Reynolds: Portraiture in Action offers a new understanding of the artist’s career within the extremely competitive London art world and takes readers into the engrossing debates and controversies that captivated the city and its artists. 

Separately they were formidable―together they were unstoppable. Despite their intriguing lives and the deep impact they had on their community and region, the story of Richard Joshua Reynolds (1850–1918) and Katharine Smith Reynolds (1880–1924) has never been fully told. Now Michele Gillespie provides a sweeping account of how R. J. and Katharine succeeded in realizing their American dreams.From relatively modest beginnings, R. J. launched the R. J. Reynolds Tobacco Company, which would eventually develop two hugely profitable products, Prince Albert pipe tobacco and Camel cigarettes. His marriage in 1905 to Katharine Smith, a dynamic woman thirty years his junior, marked the beginning of a unique partnership that went well beyond the family. As a couple, the Reynoldses conducted a far-ranging social life and, under Katharine’s direction, built Reynolda House, a breathtaking estate and model farm. Providing leadership to a series of progressive reform movements and business innovations, they helped drive one of the South’s best examples of rapid urbanization and changing race relations in the city of Winston-Salem, North Carolina. Together they became one of the New South’s most influential elite couples. Upon R. J.’s death, Katharine reinvented herself, marrying a World War I veteran many years her junior and engaging in a significant new set of philanthropic pursuits.Katharine and R. J. Reynolds reveals the broad economic, social, cultural, and political changes that were the backdrop to the Reynoldses’ lives. Portraying a New South shaped by tensions between rural poverty and industrial transformation, white working-class inferiority and deeply entrenched racism, and the solidification of a one-party political system, Gillespie offers a masterful life-and-times biography of these important North Carolinians.

What is the function of painting in a commercial society?  John Barrell discusses how British artists and writers of the late eighteenth and early nineteenth centuries, including Sir Joshua Reynolds, William Blake, and James Barry attempted to answer this question. His provocative and illuminating book offers a new perspective on both art criticism and eighteenth-century British culture.

Separately they were formidable―together they were unstoppable. Despite their intriguing lives and the deep impact they had on their community and region, the story of Richard Joshua Reynolds (1850–1918) and Katharine Smith Reynolds (1880–1924) has never been fully told. Now Michele Gillespie provides a sweeping account of how R. J. and Katharine succeeded in realizing their American dreams.From relatively modest beginnings, R. J. launched the R. J. Reynolds Tobacco Company, which would eventually develop two hugely profitable products, Prince Albert pipe tobacco and Camel cigarettes. His marriage in 1905 to Katharine Smith, a dynamic woman thirty years his junior, marked the beginning of a unique partnership that went well beyond the family. As a couple, the Reynoldses conducted a far-ranging social life and, under Katharine's direction, built Reynolda House, a breathtaking estate and model farm. Providing leadership to a series of progressive reform movements and business innovations, they helped drive one of the South's best examples of rapid urbanization and changing race relations in the city of Winston-Salem, North Carolina. Together they became one of the New South's most influential elite couples. Upon R. J.'s death, Katharine reinvented herself, marrying a World War I veteran many years her junior and engaging in a significant new set of philanthropic pursuits.Katharine and R. J. Reynolds reveals the broad economic, social, cultural, and political changes that were the backdrop to the Reynoldses' lives. Portraying a New South shaped by tensions between rural poverty and industrial transformation, white working-class inferiority and deeply entrenched racism, and the solidification of a one-party political system, Gillespie offers a masterful life-and-times biography of these important North Carolinians.

A deeply researched and elegantly written study on Sir Joshua Reynolds (1723-1792)―Georgian England’s most celebrated portraitist and the first president of the British Royal Academy of Arts―this lavishly illustrated volume explores all aspects of Reynolds’s portraiture. Mark Hallett provides detailed, compelling readings of Reynolds’s most celebrated and striking works, investigating the ways in which they were appreciated and understood in his own lifetime. Recovering the artist’s dynamic interaction with his sitters and patrons, and revealing the dramatic impact of his portraits within the burgeoning exhibition culture of late-18th-century London, Hallett also unearths the intimate relationship between Reynolds’s paintings and graphic art.  Reynolds: Portraiture in Action offers a new understanding of the artist’s career within the extremely competitive London art world and takes readers into the engrossing debates and controversies that captivated the city and its artists. 

Separately they were formidable―together they were unstoppable. Despite their intriguing lives and the deep impact they had on their community and region, the story of Richard Joshua Reynolds (1850–1918) and Katharine Smith Reynolds (1880–1924) has never been fully told. Now Michele Gillespie provides a sweeping account of how R. J. and Katharine succeeded in realizing their American dreams.From relatively modest beginnings, R. J. launched the R. J. Reynolds Tobacco Company, which would eventually develop two hugely profitable products, Prince Albert pipe tobacco and Camel cigarettes. His marriage in 1905 to Katharine Smith, a dynamic woman thirty years his junior, marked the beginning of a unique partnership that went well beyond the family. As a couple, the Reynoldses conducted a far-ranging social life and, under Katharine’s direction, built Reynolda House, a breathtaking estate and model farm. Providing leadership to a series of progressive reform movements and business innovations, they helped drive one of the South’s best examples of rapid urbanization and changing race relations in the city of Winston-Salem, North Carolina. Together they became one of the New South’s most influential elite couples. Upon R. J.’s death, Katharine reinvented herself, marrying a World War I veteran many years her junior and engaging in a significant new set of philanthropic pursuits.Katharine and R. J. Reynolds reveals the broad economic, social, cultural, and political changes that were the backdrop to the Reynoldses’ lives. Portraying a New South shaped by tensions between rural poverty and industrial transformation, white working-class inferiority and deeply entrenched racism, and the solidification of a one-party political system, Gillespie offers a masterful life-and-times biography of these important North Carolinians.

The year 2002 marks the bicentenary of the death of George Romney, one of the key figures in British art in the late 18th century. A chief rival of Sir Joshua Reynolds and Thomas Gainsborough - and for much of his career more fashionable than both - he was known both as a portraitist and as a draftsman. His countless studies for literary and mythological pictures, made in private moments but which he never had time to paint, are executed in a bold, spontaneous style that mark him as one of the first Romantics. One hundred years ago Romney's reputation was at its peak. Collectors fought to obtain his portraits of fresh-faced English women, above all his portraits of Emma Hart, later Lady Hamilton, who in her youth was Romney's favourite model and with whom he was widely supposed to have had an affair. As the more snobbish and sexist aspects of Edwardian taste became outdated, Romney's art fell spectacularly from favour. His career remains little understood and many of his best-known works are among his least distinguished. He both drew and painted with freedom and with a dramatic expressiveness unmatched in British portraiture of his day. Even later in life, as overwork and disenchantment sapped his enthusiasm, Romney was able to rekindle his energies for special sitters and when working on his occasionally sublime literary and historical paintings. This book provides a fully rounded overview of his career.

Prize-winning biographer Leo Damrosch tells the story of “the Club,” a group of extraordinary writers, artists, and thinkers who gathered weekly at a London tavern In 1763, the painter Joshua Reynolds proposed to his friend Samuel Johnson that they invite a few friends to join them every Friday at the Turk’s Head Tavern in London to dine, drink, and talk until midnight. Eventually the group came to include among its members Edmund Burke, Adam Smith, Edward Gibbon, and James Boswell. It was known simply as “the Club.”     In this captivating book, Leo Damrosch brings alive a brilliant, competitive, and eccentric cast of characters. With the friendship of the “odd couple” Samuel Johnson and James Boswell at the heart of his narrative, Damrosch conjures up the precarious, exciting, and often brutal world of late eighteenth-century Britain. This is the story of an extraordinary group of people whose ideas helped to shape their age, and our own.

Turner's Holland explores Turner's tours through Holland and the influence they had on his art. Turner attended the Royal Academy Schools from the age of fourteen where he studied old masters including seventeenth-century Dutch artists. Sir Joshua Reynolds, the Academy's president, declared that 'painters should go to the Dutch School to learn the art of painting as they would go to grammar school to learn languages'.On his first trip abroad, in 1802, Turner studied and copied Dutch painting in the Louvre. Following Napoleon's defeat, his first tour to the Continent was to the new Kingdom of the United Netherlands, which included modern-day Belgium. In 1817 he visited the battlefield of Waterloo and a year later exhibited the anti-war masterpiece, 'The Field of Waterloo'. A landscape painter who loved the sea, Turner was also fascinated by Dutch shipping, fishing, and maritime history. When shown a print of a seascape by the eminent Dutch artist Van de Velde, he is said to have whispered, 'That made me a painter'. He made over six hundred sketches during his various travels in Holland in 1817, 1825, 1840, 1841 and 1842.In this publication, the Dutch Turner scholar and cultural historian Fred Bachrach examines twenty-three of Turner's Dutch-inspirited oil paintings, explaining their significance and suggesting the reasons, sometimes political, behind Turner's selection of particular subjects. He also related sketches to the paintings and examines their relationship to the Dutch old masters.

The year 2002 marks the bicentenary of the death of George Romney, one of the key figures in British art in the late 18th century. A chief rival of Sir Joshua Reynolds and Thomas Gainsborough - and for much of his career more fashionable than both - he was known both as a portraitist and as a draftsman. His countless studies for literary and mythological pictures, made in private moments but which he never had time to paint, are executed in a bold, spontaneous style that mark him as one of the first Romantics. One hundred years ago Romney's reputation was at its peak. Collectors fought to obtain his portraits of fresh-faced English women, above all his portraits of Emma Hart, later Lady Hamilton, who in her youth was Romney's favourite model and with whom he was widely supposed to have had an affair. As the more snobbish and sexist aspects of Edwardian taste became outdated, Romney's art fell spectacularly from favour. His career remains little understood and many of his best-known works are among his least distinguished. He both drew and painted with freedom and with a dramatic expressiveness unmatched in British portraiture of his day. Even later in life, as overwork and disenchantment sapped his enthusiasm, Romney was able to rekindle his energies for special sitters and when working on his occasionally sublime literary and historical paintings. This book provides a fully rounded overview of his career.

The year 2002 marks the bicentenary of the death of George Romney, one of the key figures in British art in the late 18th century. A chief rival of Sir Joshua Reynolds and Thomas Gainsborough - and for much of his career more fashionable than both - he was known both as a portraitist and as a draftsman. His countless studies for literary and mythological pictures, made in private moments but which he never had time to paint, are executed in a bold, spontaneous style that mark him as one of the first Romantics. One hundred years ago Romney's reputation was at its peak. Collectors fought to obtain his portraits of fresh-faced English women, above all his portraits of Emma Hart, later Lady Hamilton, who in her youth was Romney's favourite model and with whom he was widely supposed to have had an affair. As the more snobbish and sexist aspects of Edwardian taste became outdated, Romney's art fell spectacularly from favour. His career remains little understood and many of his best-known works are among his least distinguished. He both drew and painted with freedom and with a dramatic expressiveness unmatched in British portraiture of his day. Even later in life, as overwork and disenchantment sapped his enthusiasm, Romney was able to rekindle his energies for special sitters and when working on his occasionally sublime literary and historical paintings. This book provides a fully rounded overview of his career.

A Journey to Flanders and Holland, first published in 1797 in the Works of Sir Joshua Reynolds, is his perceptive account of the pictures which he saw in the Austrian Netherlands, the United Provinces and the Rhineland in 1781. The Journey is here published separately for the first time, in a new edition which is also the first to include explanatory notes on the pictures mentioned by Reynolds and to illustrate all those which he discussed in any depth. Harry Mount provides an introduction which sets the Journey in its context and draws on unpublished material from Reynolds's notebooks to give insights into his critical procedures. All in all, this edition of the Journey makes an important contribution both to the history of the reception of Netherlandish art and to our understanding of the development of art theory and criticism in eighteenth-century England.

This standard edition of the Discourses on Art delivered by Sir Joshua Reynolds is now reissued in a new format and with improved illustrations. It has long been recognized as a fundamental text for the study of eighteenth-century English painting, and this edition is generally considered to be the definitive one.Robert R. Wark was Curator of Art Collections at the Henry E. Huntington Library and Art Gallery.Published for the Paul Mellon Centre for Studies in British Art

This handsome catalogue, which accompanies a major international exhibition commemorating the bicentennial of George Romney's death, offers the first in-depth modern overview of a key figure in eighteenth-century British art. Romney was the main rival of Sir Joshua Reynolds and Thomas Gainsborough--and for much of his career more fashionable than either. A century ago, collectors fought to buy the portraits he created with a distinctive mix of elegance, mannerism, and informality; especially popular were those of Emma Hart (later the notorious Lady Hamilton), who became his favorite model and muse. Romney's chief ambition, however, was to succeed as a history painter, and he made countless drawings for literary and mythological pictures that he never had time to paint. These drawings, executed with a spontaneity and dramatic expressiveness that have appealed to many modern artists, mark Romney as one of the first Romantics.

The artistic accomplishments of James Northcote (1746–1831) have tended to be overshadowed by his role as a biographer of Joshua Reynolds, first president of the Royal Academy of Arts, with whom Northcote apprenticed for five years. Here, Mark Ledbury constructs a very different image of Northcote: that of a prolific member of the Royal Academy and an active participant in the cultural and political circles of the Romantic era, as well as a portrait and history painter in his own right. This book pays particular attention to Northcote’s One Hundred Fables (1828), a masterpiece of wood engraving, and the unconventional, collaged manuscripts for the volume, now at the Yale Center for British Art. Along with another series of collages now at The Morgan Library & Museum and a second volume of fables published posthumously in 1833, these collages and printed works constitute the most ambitious project of the artist’s later years. An underappreciated and courageously eccentric masterpiece, the Fables were an early experiment in what is now a familiar multimedia practice and are extensively published here for the first time. Idiosyncratic, personal, and visionary, the Fables serve as a lens through which to examine Northcote’s long, complex, and fruitful artistic career.

This is the first introduction to the art and life of Thomas Gainsborough to appear for many years. Gainsborough has long been an attractive and popular figure in the history of English art, but this book shows that he was more than the well-known painter of The Blue Boy and the perennial rival to Joshua Reynolds. His role as a prototype for the modern idea of "the artist as Romantic" is discussed, while his deep knowledge of the art of the past is revealed to demonstrate his eclectic yet individual reworking of older styles. An introduction and seventy-five carefully selected paintings and drawings explain Gainsborough's life and art and his important role in the development of an independent English school. Both text and illustrations provide a unique up-to-date and perceptive survey that will be of interest to the scholar and general reader alike.

This handsome catalogue, which accompanies a major international exhibition commemorating the bicentennial of George Romney's death, offers the first in-depth modern overview of a key figure in eighteenth-century British art. Romney was the main rival of Sir Joshua Reynolds and Thomas Gainsborough--and for much of his career more fashionable than either. A century ago, collectors fought to buy the portraits he created with a distinctive mix of elegance, mannerism, and informality; especially popular were those of Emma Hart (later the notorious Lady Hamilton), who became his favorite model and muse. Romney's chief ambition, however, was to succeed as a history painter, and he made countless drawings for literary and mythological pictures that he never had time to paint. These drawings, executed with a spontaneity and dramatic expressiveness that have appealed to many modern artists, mark Romney as one of the first Romantics.