See also:

• SIR

SIR See also:

• JOSHUA, BOOK OF

JOSHUA See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• SIR JOSHUA REYNOLDS (1723-1792)
• REYNOLDS, WALTER (d. 1327)

REYNOLDS (1723-1792)  , the most prominent figure in the See also:

• ENGLISH

English school of See also:

• PAINTING

painting, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Plympton See also:

• EARL

Earl, in See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire, on the 16th of See also:

• JULY

July 1723 . He received a fairly See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• EDUCATION

education from his See also:

• FATHER

father, who was a clergyman and the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the See also:

• FREE

free See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar school of the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of seventeen, the lad, who had already shown a fondness for See also:

• DRAWING

drawing, was apprenticed in See also:

• LONDON

London to See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• HUDSON
• HUDSON, GEORGE (180o-1871)
• HUDSON, HENRY
• HUDSON, JOHN (1662–1719)

Hudson, a native of Devonshire, who, though a mediocre artist, was popular as a portrait painter . See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds remained with Hudson for only two years, and in 1743 he returned to Devonshire, where, settling at See also:

• PLYMOUTH
• PLYMOUTH, EARLS OF

Plymouth See also:

• DOCK

Dock, he employed himself in portrait painting . By the end of 1744 he was again in London . He was well received by his old master, from whom he appears previously to have parted with some coldness on both sides . Hudson introduced him to the artists' See also:

• CLUB (connected with " clump ")

club that met in Old Slaughter's, St See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin's See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane, and gave him much See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice as to his See also:

• WORK

work . Reynolds now painted a portrait of See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain the Hon . See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton, the first that brought him any See also:

• NOTICE

notice, with those of other See also:

• PEOPLE

people of some repute; but on the See also:

• DEATH

death of his father in 1746 he established himself with two of his sisters at Plymouth Dock, where he painted numerous portraits, and it was here that he came under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the See also:

• WORKS

works of one of the painters who materially affected his See also:

• ART

art . This was See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Gandy of See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter, who had died in 1730, and whose painting, derived through his father from See also:

• VAN

Van Dyck, was pronounced by See also:

• NORTHCOTE, JAMES (1746-1831)

Northcote to come nearer to nature in the texture of flesh than that of any artist who ever lived . The influence on him of Gandy may be seen in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early self-portrait of the See also:

• NATIONAL

National Portrait See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, so See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in impasto and strong in See also:

• LIGHT

light and shade, in which he is seen shading his eyes with his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Meanwhile the pleasant urbanity of manner which distinguished Reynolds throughout See also:

• LIFE

life had been winning for him See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends .

He had made the acquaintance of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Edgcumbe, and by him was introduced to Captain (afterwards See also:

• VISCOUNT (through O. Fr. viscomte, mod. vicomte, from Low Lat. vice-comes, cf. Portug. visconde, Ital. visconte)

Viscount) See also:

• KEPPEL, AUGUSTUS KEPPEL, VISCOUNT (1725-1786)
• KEPPEL, SIR HENRY (1809-1904)

Keppel . Keppel was made aware of Reynolds's ardent See also:

• DESIRE

desire to visit See also:

• ITALY
• ITALY (Italia)

Italy; and, as he had just been appointed to the command of the Mediterranean See also:

• SQUADRON

squadron, he gracefully invited the artist to accompany him in his own See also:

• SHIP

ship, the " See also:

• CENTURION (Lat. centuria)

Centurion." The offer was gladly accepted . While Keppel was conducting his tedious negotiations with the See also:

• DEY (an adaptation of the Turk. dai, a maternal uncle)

dey of See also:

• ALGIERS (Fr. Alger, Arab. Jezair, i.e. The Islands)

Algiers, relative to the piracy with which that potentate was charged, Reynolds resided at See also:

• PORT

Port Mahon, the See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest of the See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor of See also:

• MINORCA(Menorca)

Minorca, painting portraits of the See also:

• PRINCIPAL

principal inhabitants; and in See also:

• DECEMBER (Lat. decent, ten)

December 1749 he sailed for See also:

• LEGHORN (Ital. Livorno, Fr. Livourne)

Leghorn, and thence, with all eagerness, made his way to See also:

• ROME
• ROME (Roma)

Rome . He has confessed that his first sight of the works of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael was a grievous disappointment, but he recognized afterwards, as he said, that the See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault was in himself, and he brought his mind ultimately into the fitting posture of reverence . The fact is significant of Reynold's attitude towards the older masters . It has been often noticed that in his " Discourses " and else-where he praises just the very masters whose practice his own work implicitly condemns . The truth is that Reynolds was naturally a good critic, but was not strong enough to believe in his own opinions if they ran See also:

• COUNTER

counter to the prevailing See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of his times . Of the early Italians he praises the " simplicity and truth " and observes that they " deserve the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of a student much more than many later artists." In See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice he adopted a method of study that only a born painter could have thought of, making memoranda of the gradations of light and shade in the pictures, " and this without any attention to the subject, or to the drawing of the figures." On the other hand, we find him lavishing both attention and eulogy on the later See also:

• ITALIAN

Italian mannerists, such as Guido and the Carracci, and even Salviati and See also:

• VASARI, GIORGIO (1511-1571)

Vasari . After a See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence of more than two years in Rome, where he caught a severe See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold which resulted in the deafness that clung to him for the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of his life, Reynolds, in the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1752, spent five months in visiting See also:

• PARMA

Parma, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, Venice and other important cities of Italy . Returning to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England by way of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, Reynolds, after a brief stay in Devonshire, established himself as a portrait painter in St Martin's Lane, London, whence he afterwards removed to See also:

• GREAT

Great See also:

• NEWPORT

Newport See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, and finally, in 176o, to See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester Square, where he continued to paint till his death . In London, Reynolds stepped at once and without a struggle into a foremost position as the fashionable portrait painter of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . In this he was greatly helped by his success in society .

Throughout his career his social occupations claimed the next place to his painting, and here it may be noticed that, though we read of some little ostentation in the See also:

• FORM (Lat. forma)

form of a showy See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

chariot and liveried lackeys, his good taste always kept him from any undue " push," or adulation of the great . At the outset Lord Edgcumbe played the See also:

• PART

part of the generous See also:

• PATRON

patron, and exerted himself to obtain commissions for his protege, of whose ability the portraits which he now produced—especially the famous full-length of his old friend Keppel—were sufficient See also:

• GUARANTEE (sometimes spelt " guarantie " or " guaranty "; an O. Fr. form of " warrant," from the Teutonic word which appears in German as wahren, to defend or make safe and binding)

guarantee . The artist's painting See also:

• ROOM

room was thronged with the See also:

• WEALTH

wealth and See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of London . In 1755 his clients for the See also:

• YEAR

year numbered 120, and in 1757 the number of sittings recorded in his See also:

• POCKET

pocket-books reached a See also:

• TOTAL

total of 677 . He was not always so busy, but his popularity never really waned, though various other artists competed with him for popular See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause . First the Swiss See also:

• LIOTARD, JEAN ETIENNE (1702—1789)

Liotard had his momemt of popularity; and at a later See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period there was See also:

• OPIE, AMELIA (1769-1853)
• OPIE, JOHN (1761-1807)

Opie, and the more formidable, and sustained rivalry of See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough and of See also:

• ROMNEY (NEw ROMNEY)
• ROMNEY, GEORGE (1734-1802)
• ROMNEY, HENRY SIDNEY, EARL OF (1641-1704)

Romney; but in the midst of all Reynolds maintained his position unimpaired . During the first year of his residence in London he had made the acquaintance of Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson, which, diverse as the two men were, became a friendship for life . To him See also:

• BURKE
• BURKE, ROBERT
• BURKE, SIR JOHN BERNARD (1814–1892)
• BURKE, WILLIAM (1792–1829)

Burke and See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

Goldsmith, See also:

• GARRICK, DAVID (1717-1779)

Garrick, See also:

• STERNE, LAURENCE (1713-1768)
• STERNE, RICHARD (c. 15gb-1683)

Sterne and See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy were before See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long added . At the hospitable See also:

• DINNER

dinner-table of Reynolds such distinguished men enjoyed the freest and most unconstrained companionship, and most of them were members of the " See also:

• LITERARY

Literary Club," established, at the painter's See also:

• SUGGESTION

suggestion, in 1764 . In 176o the London See also:

• WORLD

world of art was greatly interested by the novel proposal of the Society of Artists to exhibit their works to the public . The See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of the society was at their disposal for the purpose; and in the See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month of See also:

• APRIL

April an exceedingly successful See also:

• EXHIBITION

exhibition was opened, the precursor of many that followed . To this display Reynolds contributed four portraits In 1765 the association obtained a royal See also:

• CHARTER (Lat. charta, carta, from Gr. Xap-rns, originally for papyrus, material for writing, thence transferred to paper and from this material to the document, in O. Eng. boc, book)

charter, and. became known as " The Incorporated Society of Artists but much rivalry and See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy were occasioned by the management of the various exhibitions, and an influential See also:

• BODY

body of painters withdrew from the society .

They had See also:

• ACCESS (Lat. accessus)

access to the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George III., who promised his patronage and help . In December 1768 the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy was founded, and Reynolds, whose See also:

• ADHESION (from Lat. adhaerere, to adhere)

adhesion to the See also:

• MOVEMENT

movement was for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time doubtful, was hailed by See also:

• ACCLAMATION (Lat. acclamatio, a shouting at)

acclamation its first See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president, an See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour which more than compensated for his failure to obtain the See also:

• APPOINTMENT, POWER OF

appointment of king's painter, which, the previous year, had been bestowed on See also:

• ALLAN, DAVID (1744–1796)
• ALLAN, SIR HUGH (1810–1882)
• ALLAN, SIR WILLIAM (1782–1850)

Allan See also:

• RAMSAY, ALLAN (1686-1758)
• RAMSAY, ALLAN (1713-1784)
• RAMSAY, ANDREW MICHAEL (1686-1743)
• RAMSAY, DAVID (1749—1815)
• RAMSAY, SIR WILLIAM (1852– )
• RAMSAY, SIR WILLIAM MITCHELL (185r– )

Ramsay . In a few months the king signified his approval of the See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election by knighting the new president, and intimating that the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen and himself. would honour him with sittings for portraits to be presented to the Academy . Reynolds was in every way fitted for his new position, and till the See also:

• LATE

late Lord See also:

• LEIGHTON, FREDERICK LEIGHTON, BARON (183o–1896)
• LEIGHTON, ROBERT (161x—1684)

Leighton the Academy never had so good a figure-See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head . He did not take any part in the educational work of the new institution, but on the social See also:

• SIDE
• SIDE (mod. Eski Adalia)

side he set the Academy on the lines it has followed with the greatest worldly success ever since . It was at his suggestion that the See also:

• ANNUAL

annual banquet was instituted . To the specified duties of his See also:

• POST

post he added the delivery of a presidential address at the See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution of the prizes, and his speeches on these occasions form the well-known " Discourses " of See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua . These discourses alone would be sufficient to entitle their author to literary distinction; indeed, when they were first delivered, it was thought impossible that they could be the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of a painter, and Johnson and Burke have been credited with their See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, in spite of the specific denials of both, and of Dr Johnson's indignant exclamation— " Sir Joshua, sir, would as soon get me to paint for him as to write for him ! " Sir Joshua was too prosperous and successful an artist altogether to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the jealousy of his less fortunate or less capable brethren, and it must on the other side be admitted that his attitude towards some of his contemporaries was wanting in generosity . His relations with Gainsborough, who on his part was in fault, would require more space for discussion than can here be afforded, but he was not just either to See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth or to See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson . It may be added that though Reynolds's friends were genuinely fond of him, his was not a nature that could inspire or feel any great warmth of See also:

• PERSONAL

personal feeling . Cosmo See also:

• MONKHOUSE, WILLIAM COSMO (1840—1901)

Monkhouse in the See also:

• DICTIONARY

Dictionary of National See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

Biography speaks of " the beauty of his disposition and the See also:

• NOBILITY

nobility of his See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character," but adds: " he was a born diplomatist." The latter phrase gives the real See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key to his character .

Without going so far as fully to endorse the sentiment of Mrs Thrale's famous See also:

• LINE

line about a " See also:

• HEART
• HEART, LUNG

heart too frigid " and a " See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil too warm," we must agree with a See also:

• RECENT

recent writer that the attitude of Reynolds towards his See also:

• FELLOW

fellow men and See also:

• WOMEN

women was one of detachment . Hence we regard Reynolds as a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man with tempered admiration, and reserve our See also:

• ENTHUSIASM

enthusiasm for his art . In 1784, on the death of Ramsay, Reynolds was appointed painter to the king . Two years previously he had suffered from a paralytic attack; but, after a month of rest, he was able to resume his painting with unabated See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . In the summer of 1789 his sight began to fail; he was affected by the See also:

• GUTTA (Latin for " drop ")

gutta See also:

• SERENA, or LA SERENA

serena, but the progress of the malady was See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual, and he continued occasionally to practise his art till about the end of 1790, delivering his final discourse at the Academy on the loth of December . He was still able to enjoy the See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion-ship of his friends, and he exerted himself in an effort to raise funds for the erection of a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument in St See also:

• PAUL
• PAUL (PAULUS)

Paul's to Dr Johnson, who had died in 1784 . Towards the end of 1791 it was evident to the friends of Reynolds that he was gradually sinking . For a few months he suffered from extreme depression of See also:

• SPIRITS

spirits, the result of a severe form of See also:

• LIVER (O. Eng. lifer; cf. cognate forms, Dutch lever, Ger. Leber, Swed. lefver, &c.; the O. H. Ger. forms are libara, lipora, &c.; the Teut. word has been connected with Gr. i'prap and Lat. jecur)

liver complaint, and on the 23rd of See also:

• FEBRUARY

February 1792 this great artist and blameless See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman passed peacefully away . As a painter Reynolds stands, with Gainsborough, just behind the very first See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank . There can be no question of placing him bythe side of the. greatest Venetians or of the triumvirate of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens, See also:

• REMBRANDT (1606-1669)

Rembrandt, Velasquez ; but, if he fail also to equal either See also:

• HALS, FRANS (158o?–1666)

Hals or Van Dyck, this is due, not to any defect in his natural capacity, but to deficiencies in his education combined with the See also:

• ABSENCE (Lat. absentia)

absence in his See also:

• CASE
• CASE, JOHN (d. 1600)

case of that splendid See also:

• ARTISTIC

artistic tradition on which the others leaned . He could not draw the figure properly; nor could he as a See also:

• RULE

rule compose successfully on anything like a monumental See also:

• SCALE
• SCALE (1) A

scale . English painters in his early days possessed a See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound technique, and most of Hogarth's best pictures are perfectly well preserved as well as beautifully painted but Reynolds was not content with the tried methods Hudson could have taught him .

In the- desire to See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass that creaminess, that juicy opulence in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and texture, of which he conceived, the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea before the Italian See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey, and which he found realized in the works of the Venetians and See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio, he embarked on all sorts of fantastic experiments in See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments and See also:

• MEDIA

media, so that See also:

• HAYDON, BENJAMIN ROBERT (1786-1846)

Haydon exclaimed, " The wonder is that the picture did not crack beneath the See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush ! " The result was the speedy ruin of many of his own productions, and he inaugurated an era of uncertainty in method which seriously compromised the efforts of his successors in the English school . The See also:

• MOTIVE (from Lat. movere, to move)

motive for this See also:

• PROCEDURE (Fr. procedure, from Lat. procedere, to go for-ward)

procedure may explain if it do not justify it . He was all his life intensely in See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest about his art, devoured by what he himself calls " a perpetual desire to advance "; and he accounts for his own uncertainty partly from his want of training, and partly from his " inordinate desire to possess every See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of excellence " he saw in the works of others . Now if this See also:

• MENTAL

mental energy led him into hazardous attempts to find a royal road to the painter's ideal, it acted well upon his See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design in lending to it a certain intellectual solidity, which gives it an See also:

• ADVANTAGE

advantage over the slighter, though at times more exquisite, productions of the pencils of Gainsborough or Romney . The See also:

• WEIGHT

weight and power of the art of Reynolds are best seen in those See also:

• NOBLE, SIR ANDREW (1832- )

noble male portraits, " Lord See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

Heath-See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field," Johnson," " Sterne," " Goldsmith," See also:

• GIBBON
• GIBBON, EDWARD (1737–1794)

Gibbon," " Burke," " See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

Fox, " Garrick," that are See also:

• HISTORICAL

historical monuments as well as sympathetic works of art . In this See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category must be included his immortal " Mrs See also:

• SIDDONS, SARAH (1755-1831)

Siddons as the Tragic Muse." In portraits of this See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order Reynolds holds the field, but he is probably more generally admired for his studies of women and of See also:

• CHILDREN, LAW RELATING TO

children, of which the Althorp portraits of the See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer See also:

• FAMILY

family are classic examples . Nature had singled out Sir Joshua to endow him with certain gifts in which he has hardly an equal . No portrait painter has been more happy in his poses for single figures, or has known better how to See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control by good taste the piquant, the accidental, the daring, in mien and gesture . " Viscountess Crosbie is a striking instance . When dealing with more than one figure he was not always so happy, but the " Duchess of Devonshire and her Baby," the " Three Ladies decking a Figure of See also:

• HYMEN, or HYMENAEUS

Hymen," and the " Three Ladies See also:

• WALDEGRAVE

Waldegrave " are brilliant successes . He wa's felicitous too in his arrangement of drapery, often following his own fashion of investing his graceful dames in See also:

• ROBES (Fr. robe, Late Lat. roba, raupa, meaning (1)

robes of ideal cut and texture, quite apart from the actual clothes worn at the time .

Few painters, again, have equalled the president in dainty and at the same time See also:

• FIRM

firm manipulation of the brush . The richness of his deeper colouring is at times quite Venetian . For pure delight in the quality of paint and colour we cannot do better than go to the " Angels' Heads " of the National Gallery, or the " Nelly O'Brien " in the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection . It corresponds with what has been noted as Reynolds's See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of mind in regard to older art to find him throughout his life hankering after success in what he was fond of calling the " See also:

• GRAND

grand See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style " in " historical painting." His failure here is as notorious as his brilliant success in the field of art for which nature had equipped him . His " Ugolino," his " See also:

• MACBETH

Macbeth," his " See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• BEAUFORT
• BEAUFORT, FRANCOIS DE VENDOME
• BEAUFORT, HENRY (c. 1377–1447)
• BEAUFORT, LOUIS DE (d. 1795)

Beaufort," have no real impressiveness, while his greatest effort in the " historic " style, the " See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules " at St See also:

• PETERSBURG

Petersburg, resulted in his most conspicuous disaster . It is in the " Discourses " that Reynolds unfolds these artistic theories that contrast so markedly with his own practice . The first discourse deals with the See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment of an academy for the See also:

• FINE

fine arts, and of its value as being a repository of the traditions of the best of bygone practice, of " the principles which many artists have spent their lives in ascertaining." In the second lecture the study of the painter is divided into three stages,—in the first of which he is busied with processes and technicalities, with the grammar of art, while in the second he examines what has been done by other artists, and in the last compares these results with Nature herself . In the third discourse Reynolds treats of " the great and leading principles of the grand style"; and succeeding addresses are devoted to such subjects as " Moderation," " Taste," " See also:

• GENIUS (from Lat. genere, gignere)

Genius," and " See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

Sculpture." The fourteenth has an especial See also:

• INTEREST

interest as containing a notice of Gainsborough, who had died shortly before its delivery; while the concluding discourse is mainly occupied with a See also:

• PANEGYRIC

panegyric on See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo . The other literary works of the president comprise his three essays in The Idler for 1759–1760 (" On the Grand Style in Painting," and " On the True Idea of Beauty "), his notes to Du See also:

• FRESNOY, CHARLES ALPHONSE DU (1611—1665)

Fresnoy's Art of Painting, his Remarks on the Art of the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries, his brief notes in Johnson's See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, and two singularly witty and brilliant fragments, imaginary conversations with Johnson, which were never intended by their author for publication, but, found among his papers after his death, were given to the world by his niece, the marchioness of See also:

• THOMOND, EARL AND MARQUESS OF

Thomond . The president See also:

• LEFT

left to his niece, See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary See also:

• PALMER
• PALMER, EDWARD HENRY (1840-1882)
• PALMER, ERASTUS DOW (1817-1904)
• PALMER, GEORGE (1818-1897)
• PALMER, JOHN
• PALMER, RAY (1808-1887)
• PALMER, SAMUEL (1805-1881)
• PALMER, SIR CHARLES MARK, BART

Palmer, the bulk of his See also:

• PROPERTY

property, about £See also:

• IOO

Ioo,000, with works of art that sold for £30,000 more . There were, besides, legacies amounting to about £15,000 . His body rests in St Paul's .

See Northcote, See also:

• MEMOIRS

Memoirs of Sir Joshua Reynolds, See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight, 6'c . (1813), and Supplement thereto (1815); Farrington, Memoirs of the Life of Sir Joshua Reynolds (1819); See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

Cotton, Sir Joshua Reynolds and his Works (edited by See also:

• BURNET
• BURNET, GILBERT (1643-1715)
• BURNET, THOMAS (1635-1715)

Burnet, 1856) ; See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie and See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor, Life and Times of Sir Joshua Reynolds (2 vols., 1865) ; See also:

• REDGRAVE, RICHARD (1804-1888)

Redgrave, A Century of English Painters (1866), vol. i.; See also:

• GRAVES, ALFRED PERCEVAL (1846— )

Graves and Cronin, A See also:

• HISTORY

History of the Works of Sir Joshua Reynolds, P.R.A . (4 vols., 1899—1901) ; Sir See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• ARMSTRONG, ARCHIBALD (d. 1672)
• ARMSTRONG, JOHN (1709-1779)
• ARMSTRONG, JOHN (1758—1843)
• ARMSTRONG, SAMUEL CHAPMAN (1839—1893)
• ARMSTRONG, WILLIAM GEORGE ARMSTRONG, BARON (1810—1900)

Armstrong, Sir Joshua Reynolds, First President of the Royal Academy (1900; also a shorter work, 1905) ; Lord Ronald See also:

• GOWER
• GOWER, JOHN (d. 1408)

Gower, Sir Joshua Reynolds (1902) . For Reynolds's literary works, see See also:

• MALONE
• MALONE, EDMOND (1741-1812)

Malone, The Works of Sir Joshua Reynolds, Knight (3 vols., 1798) ; Beechy, Literary Works of Sir Joshua Reynolds (1835); Leisching, Sir J . Reynolds zur Aesthetik u . Technik der bildenden Kitnste (See also:

• LEIPZIG

Leipzig, 1893) ; Discourses delivered to the Students of the Royal Academy by Sir Joshua Reynolds, Kt., with introductions and notes by See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger See also:

• FRY
• FRY, ELIZABETH (178o-1845)
• FRY, SIR EDWARD (1827– )

Fry (1905) .