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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..172b0cb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68490 (https://www.gutenberg.org/ebooks/68490) diff --git a/old/68490-0.txt b/old/68490-0.txt deleted file mode 100644 index deccece..0000000 --- a/old/68490-0.txt +++ /dev/null @@ -1,943 +0,0 @@ -The Project Gutenberg eBook of The charm of Reynolds, by James Mason - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The charm of Reynolds - -Author: James Mason - -Release Date: July 10, 2022 [eBook #68490] - -Language: English - -Produced by: Al Haines - -*** START OF THE PROJECT GUTENBERG EBOOK THE CHARM OF REYNOLDS *** - - - - - - - -[Illustration: Cover art] - - --------------------------------------------------------------------- - -[Illustration: Portrait of Two Gentlemen] - -_Portrait of Two Gentlemen_ - -(_National Gallery_) - -This picture was given to the National Gallery in 1866. The figure -on the left is the Rev Geo. Huddersford, who, before he took orders, -studied art with Sir Joshua. The other figure, with violin in right -hand, is J. C. W. Bamfylde. It is a representative picture enough, -showing how closely the painter observed his sitters and how complete -and skilful was his characterisation. - --------------------------------------------------------------------- - - - - -[Illustration: Title page] - - -THE CHARM - -OF - -REYNOLDS - - -By JAMES MASON - - - - - _The Charm of Reynolds_ - - - _Published by T. C. & E. C. Jack - London and Edinburgh_ - - - - - _List of Illustrations_ - - Portrait of Two Gentlemen ... _Frontispiece_ - (_National Gallery_) - - Nelly O'Brien - (_Wallace Collection_) - - Age of Innocence - (_National Gallery_) - - Duchess of Devonshire and Child - (_Chatsworth_) - - - - -The Charm of Reynolds - - - -I. HIS ART AND CHARACTER - -Portraits painted by Sir Joshua Reynolds are a national asset, and -appeal to the general public in this light almost as strongly as they -appeal to the smaller section that takes a definite interest in -pictures. The value of the portraits varies considerably; it is -probable that the artist produced between four and five thousand in -his time, sometimes completing three or four in a week for years on -end, and even in his more leisured times producing six or seven per -month, so it was of course inevitable that their value should not be -equal. The very early work painted in Devonshire is of little worth. -Italy opened the eyes of Joshua Reynolds as it has opened the eyes of -so many British artists since his time. Fortunate in his life the -painter was; in a certain sense, unfortunate in his art. The beauty -he has committed to canvas had begun to pass before the artist's days -were numbered, and many of his most successful works are to-day no -more than a pale reflection of their former selves, a remnant most -forlorn of what they were. One of his most painstaking biographers -and soundest critics, Sir Walter Armstrong, has written, "Speaking -roughly, Sir Joshua's early pictures darken, the works of his middle -period fade, those of his late maturity crack." - -"Despite these drawbacks, the painter's position is unassailable, for -it appeals alike to the historian, to the philosopher who looks to -the outward semblance for reflection of the spirit behind the mask, -and to the artist who finds so much to delight him in the point of -achievement to which Reynolds raised portrait painting and can -appreciate the larger aspect of work that is visible in some degree -to everybody. - -The man was a sturdy Briton, he worked hard all the days of his life, -he had a large measure of shrewd common sense, great gifts, high -ideals, and sufficient human weakness to make him what the Spaniards -call "hombre como alquier otro," a man like any other. His art may -stand upon a pedestal but he never did, he was too busy and too -unaffected to pose. "I'll be a painter if you'll give me a chance to -be quite a good one," he is reported to have said, when a little boy, -to his father, the Plympton school-master, and once a painter he -worked on and on, enjoying life but never abusing it, until 1789, -when he was sixty-six, and apparently in the mellow autumn of his -days. Then as he was painting in his studio one July morning, the -sight of one eye failed him suddenly. Quite quietly he laid his -brushes down. "All things have an end," he said; "I have come to -mine." Some two and a half years were left to him but he would not -paint any more; he preferred to be judged by the tasks he had -accomplished in the light of health. He continued to address the -students of the Royal Academy; he consented to remain titular head of -that body though Sir William Chambers and Benjamin West, who was -regarded as a great painter in his day, looked after the actual work -of the high office. He was not a mere cipher in the counsels of the -Academy on that account; to the end he had his own way. Very -masterful, very human, very kind, he stands out the most prominent -figure in an age that produced both Gainsborough and Romney. - --------------------------------------------------------------------- - -[Illustration: Nelly O'Brien] - -_Nelly O'Brien_ - -(_Wallace Collection_) - -Reynolds painted three portraits of this famous courtesan, all of -which have been engraved. The one reproduced here, in which she -wears a straw hat that throws a skilfully expressed shadow over her -face, and in which she has a Maltese terrier on her lap, is said to -be the best. It has been engraved at least three times. - --------------------------------------------------------------------- - -The latter half of the eighteenth century owes a heavy debt to Sir -Joshua, so too do we who turn to his many canvases for a glimpse of -the men who bore rule and the women they delighted to honour--or -dishonour. He has preserved for us all that was notable--statesmen, -soldiers, sailors, churchmen, men of letters, actors, fair women, -frail women, delightful children--they are all there, and if we -cannot see them all quite in their habit as they lived, there is -enough left to give a very fair idea. The modern market carefully -nursed by a ring of astute professionals will give almost any price -for portraits of fair women by Sir Joshua, though it may be suggested -that his greatest success was in the treatment of men or at least -that he saw far more in men than in women. But Reynolds had not -studied classic figures for nothing, he could give his fair sitters -some suggestion of direct association with those goddesses of old -time whom he had admired in Italy, and to this treatment no exception -was taken. It is very rarely that Reynolds makes his women human. -Nellie O'Brien, whose portrait hangs in the Wallace Collection, is -one of the exceptions, and an attempt is made to make the "Duchess of -Devonshire and Child," now at Chatsworth, equally feminine, but one -cannot escape the thought that the mother's gesture as expressed on -the canvas is altogether exceptional. She could not have played for -long with such a strong healthy baby without ruffling the delightful -costume or the carefully arranged hair, and this, one feels, would -have been unendurable. Turn, on the other hand, to the portraits of -the men--how significantly their faces speak of their outstanding -habits, labours or desires. Few people could see so closely into his -sitters as Sir Joshua did, though in very many cases they were not -with him for more than a couple of days. Yet he seemed able in that -short time to enter into their life history to produce something that -was a fine portrait and yet more than a portrait--a psychological -study, not over elaborated, not insisted upon, not in any way -intruding upon the purely artistic side of the work, but there, -nevertheless, to be seen to-day by those who have eyes to see. To -quote his own words, he looked upon his sitters "with a dilated eye"; -there was just enough imagination to give an attractive setting to -the essentials; there was no need for the classical or symbolical -background to whose doubtful charms the painter surrendered now and -again, but we may consider that these affectations were a part of the -art of his time, and that, while he left many conventions behind him, -he could not trample upon them all. - -It is well to remember that Sir Joshua was not a heaven-sent genius, -and that he arrived at the perfection of his achievement by the -addition of hard labour to a considerable natural gift. He started -out with few advantages save those that come to the young man who -finds a patron early in life; he had many natural errors of taste to -correct. Students of his life and correspondence will find many -evidences to prove that the first President of the Royal Academy -mastered his self-control, taste, and bearing towards patrons as he -mastered his art, slowly and not without difficulty, but that as soon -as a lesson was mastered it was retained for all time. The raw -country lad from Devonshire could not become all at once one of the -prominent figures in the society of his time. - -This is as it was bound to be--the people who make no mistakes, who -say and do the right thing under all circumstances, who are, so to -speak, ready made and with every modern equipment, are for the most -part the creation of their biographers. They have not and never had -a real existence as paragons of progress and propriety. There was a -time when Joshua Reynolds was not very competent, and but -incompletely educated; he became highly accomplished and well read. -There was a time when he exhibited the tendencies of a snob; he -learned to lay them aside, and once abandoned he had no further use -for them. Unceasing endeavour stimulated and refined him, he -achieved greatness not for himself alone but also for British art. -Before his day the most of the fashionable portrait painters were -foreigners. Rubens and Van Dyck had many successors and followers -though they had no peers, but after Reynolds had made his mark it was -no longer considered necessary to employ foreign talent. The -commanding ability of the painter was associated with the easy -authority of the man of the world. Leaders of English society found -that Sir Joshua, despite his deafness, was a fascinating companion. -He shot and hunted with them, he ate and drank with them, he -entertained them in fashion that smacked more of the country than of -the town. Dr Johnson would suggest that he sometimes took more than -was absolutely necessary for his well-being, but then the doctor -thought that all drinking, save tea-drinking, was gross indulgence. -From his close acquaintance with men of mark and women of social -distinction came the intimacy that the portraits reveal, the quality -that counts for so much in portraiture. There were other attractions -greatly admired then and lost now, for Sir Joshua gave his pictures a -fine glaze that is said to have added much to the beauty of the -colouring, but was, alas, ephemeral. It was purely experimental, and -when we consider the scientific resources of the middle eighteenth -century it is hardly surprising to find that the charm did not -endure. For all we know to the contrary this purely evanescent -quality constituted one of the charms of Reynolds while he lived, but -his fame rests upon more enduring foundations. We look in vain to -the spoken and written word or to the written word alone to sum up -eighteenth century men of thought and action as clearly and -definitely as Sir Joshua has done; his is a sincerity devoid of -prejudice. We see men as they were even if the most of his women are -seen as they would have wished to be. Here then is a part at least -of the charm of Sir Joshua Reynolds, the man was very human and very -discreet. He was by no means free from jealousy notably where -Gainsborough and Romney were concerned; he knew well enough that they -were great competitors and formidable. He lived a bachelor, and -despite all the Paul Prys among his contemporaries the story of his -amours (if any) remains untold. Here at least is a fine and ample -discretion. It is with Angelica Kauffmann that his name has been -associated. We know he was her friend and admirer, and that she was -one of the two lady members of the Royal Academy as first -constituted, but there is little more than this at the disposal of -the conscientious biographer. Sir Joshua was not the only man to -succumb to her charms; in years to come Goethe himself was to -acknowledge them. It is pleasant to think that whatever the great -painter's private affairs may have been, they have remained private -for all time. What a wealth of moralising this condition has enabled -us to escape! We are left to concern ourselves solely with his -progress as artist and as man, and there is quite enough in this as -may be gathered from study of the artist's leading biographers. Sir -Walter Armstrong, Sir Claude Phillips among the moderns, and -Northcote and Leslie and Taylor among those nearer to the artist, are -men who have left little for those who endeavour to glean in the -field of biography. They have done more than write the story of one -man's life--they have given us a valuable glimpse of contemporary -history. It is a grateful task to write at considerable length of -Sir Joshua, because of his association with so many leaders of -contemporary thought and action. Detail is out of the question in -this brief note, but the outlines of the strenuous and honourable -life may be set out here. - - - - -II. HIS LIFE AND TIMES - -Joshua Reynolds was born at Plympton in Devonshire in the month of -July 1723. His father, the Rev. Samuel Reynolds, master of the local -grammar school, was a scholar, and gave his boy the best education at -his command, intending to make him a doctor when he grew up. But the -lad's talent developed early, his hands were busy with the pencil at -a very early age, and at a time when to most lads reading is a labour -rather than a pastime, he was mastering the elements of perspective -and studying a "Theory of Painting" by one Richardson. This -precocious interest in art was not to be overlooked, and the Rev. -Samuel Reynolds giving up the idea of the medical profession for his -son, sent him in his seventeenth year to London as pupil to a -portrait painter named Thomas Hudson, a man of some temporary repute. -He stayed there for three years, and then a series of troubles with -his master culminated in a final quarrel, and the boy, for he was -hardly more, left London for his native county, and set up in -Devonport as a portrait painter. His gift was already sufficient to -gain recognition, and the patronage of local people was neither -denied nor delayed. Among them was Lord Mount Edgecumbe, who was not -content to have his portrait painted, but, being convinced that the -young artist had talent, did all that in him lay to help its -development. Portraits were painted in large numbers at Devonport, -many are known to-day, but for the most part they are not classed -with the master's great achievements. A natural gift and three -years' association with Thomas Hudson could not make the Reynolds we -know and admire. It was for Italy to do this and Lord Mount -Edgecumbe made Italy possible by introducing his protégé to Commodore -Keppel, a distinguished sailor, who, on receiving a Mediterranean -command in 1749, invited his clever friend to accompany him. -Naturally the offer was not slighted; by the summer of 1749 the young -painter was in the Eternal City copying masterpieces. But he did not -copy in any slavish fashion; it was his firm belief, and one he was -to expound to students in days to come, that copying is a delusive -industry and keeps the gifts of composition and invention dormant, so -that for lack of proper exercise they lose their vitality. His mind -was at once synthetical and analytical; he set himself to discover -the foundation of the excellence of the masterpieces, and many of his -copies were in a sense mere notes for his own future guidance. He -wanted assistance to develop himself; he had no wish to speak in the -language of any of the mighty dead. Yet his power of making an -effective copy must have been remarkable. Sir Walter Armstrong, to -whose life of Reynolds reference has been made already, thinks that -one of the Rembrandts in our National Gallery is no more than the -copy by Sir Joshua of an original. For three years the painter -laboured diligently, not only among the Michelangelos in Rome, but -among the works of lesser men in Padua, Turin, Milan, and Paris. He -had learned enough in England to call the old masters to his aid on -the Continent, he could appreciate all their canvases could tell him -and, when he returned home in his thirtieth year, he was fully -equipped to take a high place among his fellow artists and to pave -the way to a supremacy that only Gainsborough and Romney could -challenge. - -He had not come unscathed through more than three years of foreign -travel, a fall from his horse in the island of Minorca left his face -permanently scarred. Far more serious was the chill contracted in -the Vatican that brought about the deafness from which he suffered -for the rest of his life. He reached Devonshire in the autumn of -1752, took a brief holiday there, and then, on the advice of his -patron Lord Mount Edgecumbe, decided to try his fortune in London. -Some of his biographers say he went to Great Newport Street, but it -is more correct to say that his first studio was in St Martin's -Street, from which he moved to Great Newport Street, staying there -till 1760, when he made his last change to 47 Leicester Square, a -house still standing and largely devoted to auction rooms to-day. - --------------------------------------------------------------------- - -[Illustration: Age of Innocence] - -_Age of Innocence_ - -(_National Gallery_) - -This delightful study of a little barefooted girl, wearing a white -dress and seated on the grass, was bought for the Nation at the sale -of Mr Harman's pictures. It has been engraved by S. W. Reynolds, -Chas. Turner, and others, but the sitter has not been traced. - --------------------------------------------------------------------- - -One of his first London portraits was a full length study of his -sailor friend Keppel, and that piece of work seems to have been the -foundation of his London fortunes; he never looked back. Soon the -studio was crowded; one sitter succeeded another; the painter had no -time to do more than work. His household affairs were watched by his -sister Frances, who does not appear to have been an ideal housekeeper -when the work of the house grew and it became necessary to entertain -and be prepared to receive friends at any reasonable hour. The -painter grew rich rapidly, and when he moved, in 1760, to the house -in Leicester Square, sister Frances would drive about the town in a -gilded coach with coachman and footman in staring liveries. -Presumably the equipage served to advertise the painter's prosperity. - -For many men the rapid success would not have been good, they would -have ceased to strive and would have been content to repeat -themselves, but Joshua Reynolds, with his high ideals and genuine -enthusiasm for work, was only stimulated by prosperity; it was -powerless to spoil him. While his work was increasing in power he -was selecting friends from the ranks of the most distinguished -scholars and thinkers in town, and while his labours were making him -a bigger artist, the association with great intellects was making him -a bigger man. The friendship of Edmund Burke and Dr Samuel Johnson -alone would have been enough to have lent distinction to the -painter's life. He was a great admirer of the lexicographer, and has -left an appreciation of his character, while the old man's last words -to him were an exhortation to read the Bible regularly and not to -paint on Sundays. - -To many people Reynolds is known best as the first President of the -Royal Academy, and it is necessary in dealing, however briefly, with -the story of his life to point out how the Academy came into being. -Down to the middle of the eighteenth century exhibitions of modern -work would appear to have been unknown. London's interest in fine -arts was strictly limited. People with plenty of money hired an -artist to paint their portrait much as we should hire a painter and -decorator to put a house in good order. Artists had comparatively -little standing and no representative institution; art was patronised -by a small section of the wealthy classes, and the masses knew little -and cared less about the existence of even leading men. The Society -of Arts was founded about 1754, and a Society of Artists was founded -soon afterwards. Hogarth had given some pictures to the gallery of -the Foundling Hospital, established by his great friend Captain -Coram. Reynolds' former master, Thomas Hudson, Reynolds himself, and -several others sent pictures; the gallery was open to the public and -people visited it with interest and pleasure. The possibilities of -regular exhibitions of modern work became suddenly apparent then, and -members began to form associations for the development of common -interests. The Society of Artists received in 1765 a certificate of -Incorporation from King George III., and became the Incorporated -Society of Artists of Great Britain with a membership of more than -two hundred. Now in this country it is only necessary to establish -one society in order that several other societies may establish -themselves in opposition, emulation, imitation or something of the -kind, and it was quite in the order of things for the Free Society of -Artists to enter into competition with the Incorporated Society. -There were many intrigues, and some of the men who had the ear of the -King, chief among them, it is said, William Chambers the Architect -and Benjamin West, brought about the establishment of the Royal -Academy. King George signed the Constitution of the new body, which -started with thirty-six members including two ladies, Angelica -Kauffmann and Mary Moser. William Chambers accepted the office of -Treasurer, while Goldsmith and Dr Johnson represented Ancient History -and Ancient Literature respectively. To the astonishment of many -people the Presidency was offered to Joshua Reynolds. His brother -artists wanted him, but King George III., who was not remarkable for -his artistic perceptions, preferred the work of Benjamin West, and is -said to have been unable at first to subscribe to the Academy's -choice. The part Reynolds played in the business that led to the -collapse of the Incorporated Society and the establishment of the -R.A. remain unknown to this hour. To all outward seeming he stood -quite aloof from the intrigues, for a part of the time of their -occurrence he was travelling on the Continent; yet those who have -studied his life history closely and noted the abundant and subtle -diplomacy that marked his public as well as his private life, suspect -that his influence was behind many of the developments of those -stirring years. Be this as it may the fact remains that he did not -at once accept the offer of the Presidency; he asked time to consider -and to consult his friends, and Benjamin West was sent to persuade -him before he would give a favourable answer. What a pity that there -was no painter at hand to defeat Benjamin West persuading Joshua -Reynolds to become first President of the Royal Academy! Certainly, -if the latter was pulling the wires he did the work in fashion quite -inimitable. Having held out sufficiently he gave in, and a year -later received from King George the honour of Knighthood. - -It is characteristic of Sir Joshua Reynolds that, having become -President, he should be at great pains to justify his new position. -It was not an empty honour, the annual exhibition would need and -demand proof of his accomplishment and industry, while, as the -Academy was to be a teaching Institution, he saw himself face to face -with the necessity of finding time to prepare addresses for the -benefit of the students. Perhaps the best praise to be given to -these discourses on art is the reminder that they are still in steady -demand, indeed, they are the most accessible guide to their author's -methods. His grasp of principles, his breadth of view and critical -insight are all the more attractive because of the ease and fluency -with which they are expressed. To the man who has never held a paint -brush as well as to the novice in art and the old experienced hand, -there is a definite appeal. He shows one and all that his triumph as -a portrait painter is not a mere affair of happy chance, but the -logical outcome of certain principles followed without concession. -Many moderns will not see eye to eye with him, they may ever hold -that he was quite mistaken in many of his views, but the change of -fashion and the modification of thought are of less importance than -the fact that Sir Joshua accepted, followed, and taught certain -theories and lived in the light of them. Nearly one hundred and -fifty years have passed since the Academy was established, but it has -not produced another teacher like Reynolds. He had not exhausted his -honours when he came to be President; in years to come he was to -become painter in ordinary to the King and to be entrusted with a -considerable commission by that remarkable woman the Empress -Catherine of Russia. He was a welcome guest at many of the most -beautiful homes in England and he travelled abroad extensively, but -nothing kept him from his Presidential duties until the last year of -his life brought sickness in their train. - --------------------------------------------------------------------- - -[Illustration: Duchess of Devonshire and Child] - -_Duchess of Devonshire and Child_ - -(_Chatsworth_) - -This picture, sometimes known as "The Jumping Baby," is in the -possession of the Duke of Devonshire at Chatsworth. When first seen -some people found fault with it, Horace Walpole among the number, but -it has gained popularity with age. The composition is very skilled, -but the Duchess is perhaps rather too much _en grande tenue_ to -appear as nurse. - --------------------------------------------------------------------- - -When we consider the ill fortune of the Incorporated Society and the -Society of Artists and remember how actively men intrigued then, as -now, it is not difficult to see that the Royal Academy owes a heavy -debt to Sir Joshua, who may be said to have nursed it with the -greatest care during its infancy and was such a generous contributor -to the walls of its annual exhibition that he is said to have sent -nearly two hundred and fifty pictures during his term of office. The -first Exhibitions were held in Pall Mall, but during Sir Joshua's -lifetime there was a move to Somerset House. To 1838 the annual -display was transferred to the National Gallery, and in 1869 -Burlington House became the centre of activities that increase in -volume if not in interest year by year. - -It is impossible to compile a list of the distinguished men and -interesting women who sat to Sir Joshua, but a very brief resume may -be made of some of the most familiar. The three Ladies Waldegrave, -Georgiana, Duchess of Devonshire, Lady Cockburn and her children, Mrs -Master as Hebe, Miss Kitty Fisher, Miss Nelly O'Brien, Mrs Lloyd, the -Honourable Lavinia Bingham, Angelica Kauffmann, Mrs Hoare and her -baby, Countess Waldegrave and daughter, Mrs Siddons as the Tragic -Muse, The Graces decorating a Terminal Figure of Hymen, the Duchess -of Devonshire and baby--here we have a few of the female portraits by -which the painter would have achieved success if he had painted no -others. - -He painted four or five portraits of King George III., two of his -wife, and two of George IV. as Prince of Wales; the number of peers -is legion. Among statesmen Edmund Burke sat to him five times and -Charles James Fox four. Brinsley Sheridan sat twice and Horace -Walpole three times. Other men sitters of note were Bartolozzi the -engraver, Dr Burney, David Garrick, Dr Johnson, Boswell, Oliver -Goldsmith, Gibbon the historian, Tobias Smollett and Laurence Sterne. -Of himself Reynolds painted between forty and fifty portraits. - -Successful as he was in expressing the moods of men and the -fascination of women, it is impossible in writing of the charm of -Reynolds to forget the part the children play in his work. It would -be hard indeed to find a painter who has expressed the joy and -happiness of childhood with equal effect. Some of the children so -depicted are seen with their mothers, and one feels that the portrait -was painted more for the mother than for the child; but there are -many canvases from which the children alone smile at us, captured for -our time in all their youthful radiance though some have lain for a -century dead. The children of Lady Smythe stand happily apart from -their rather self-conscious mother, and among the single-figure -portraits of children are Lady Catherine Pelham Clinton, Lady -Caroline Howard, Miss Emma Hart (afterwards Lady Hamilton), Charles, -Viscount Althorp, Miss Bowles the Strawberry Girl, "The Age of -Innocence," "The Infant Samuel," and many others that the mind and -the memory love to dwell upon. How pleasant it is to remember that -Nature so careless of the individual is so careful of the type that -it blossoms anew with every generation! - -Having written, however briefly, of the children in Reynolds' -picture, it seems unnecessary to say more of his charm; they will -stand for it until the end comes, the hour when the pigments can -endure no longer and the labour of the master is ended. - -There is little to add to the story of Sir Joshua after he became -President of the Royal Academy. Down to 1789, when sickness came -suddenly upon him, his was a prosperous career, passed in the most -stimulating company of his age, associated with foreign travel and -delightful English holidays. Only once in all these later years does -his critical insight appear to have failed him, and this was when he -went to Holland and remained unmoved by the work of Franz Hals. -What, one wonders, did he see or fail to see when he stood before the -portrait of the Laughing Cavalier and the musician (Der Vaar), the -painter's wife and the market girl? Londoners mourned when Reynolds' -life came to an end, and they buried him with much pomp and ceremony -by the side of Sir Christopher Wren. But he may well be content with -the measure of his own immortality. No British portrait painter has -seriously challenged his supremacy, and few may hope to rival his -output. The Graves and Cronin catalogue mention three thousand -pictures and probably leave well over a thousand unnamed. It is -possible for the amateur to name a hundred examples of his -portraiture, any of which would have justified a claim to posthumous -honours. - - - - PRINTED BY - TURNBULL AND SPEARS, - EDINBURGH - - - - - - - - -*** END OF THE PROJECT GUTENBERG EBOOK THE CHARM OF REYNOLDS *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The charm of Reynolds</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: James Mason</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 10, 2022 [eBook #68490]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Al Haines</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE CHARM OF REYNOLDS ***</div> - -<p><br /><br /></p> - -<p class="capcenter"> -<a id="img-cover"></a> -<img class="imgcenter" src="images/img-cover.jpg" alt="Cover art" /> -</p> - -<p><br /><br /></p> - -<hr /> - -<p class="capcenter"> -<a id="img-front"></a> -<br /> -<img class="imgcenter" src="images/img-front.jpg" alt="Portrait of Two Gentlemen" /> -</p> - -<p class="t3"> -<i>Portrait of Two Gentlemen</i> -</p> - -<p class="t3"> -(<i>National Gallery</i>) -</p> - -<p class="caption"> -This picture was given to the National Gallery -in 1866. The figure on the left is the Rev -Geo. Huddersford, who, before he took orders, studied -art with Sir Joshua. The other figure, with -violin in right hand, is J. C. W. Bamfylde. It is -a representative picture enough, showing how -closely the painter observed his sitters and how -complete and skilful was his characterisation. -</p> - -<hr /> - -<p><br /><br /></p> - -<p class="capcenter"> -<a id="img-title"></a> -<br /> -<img class="imgcenter" src="images/img-title.jpg" alt="Title page" /> -</p> - -<h1> -<br /><br /> -THE CHARM -<br /> -OF -<br /> -REYNOLDS -</h1> - -<p><br /></p> - -<p class="t2"> -By JAMES MASON -</p> - -<p><br /><br /><br /></p> - -<p class="t4"> - <i>The Charm of Reynolds</i><br /> -</p> - -<p><br /></p> - -<p class="t4"> - <i>Published by T. C. & E. C. Jack<br /> - London and Edinburgh</i><br /> -</p> - -<p><br /><br /><br /></p> - -<p class="t3b"> - <i>List of Illustrations</i><br /> -</p> - -<p class="noindent"> - <a href="#img-front">Portrait of Two Gentlemen</a> ... <i>Frontispiece</i><br /> - (<i>National Gallery</i>)<br /> -</p> - -<p class="noindent"> - <a href="#img-014">Nelly O'Brien</a><br /> - (<i>Wallace Collection</i>)<br /> -</p> - -<p class="noindent"> - <a href="#img-030">Age of Innocence</a><br /> - (<i>National Gallery</i>)<br /> -</p> - -<p class="noindent"> - <a href="#img-040">Duchess of Devonshire and Child</a><br /> - (<i>Chatsworth</i>)<br /> -</p> - -<p><br /><br /><br /></p> - -<p><a id="chap01"></a></p> - -<p class="t2"> -<i>The Charm of Reynolds</i> -</p> - -<p><br /><br /></p> - -<h3> -I. HIS ART AND CHARACTER -</h3> - -<p> -Portraits painted by Sir Joshua Reynolds -are a national asset, and appeal to the general -public in this light almost as strongly as they -appeal to the smaller section that takes a -definite interest in pictures. The value of -the portraits varies considerably; it is probable -that the artist produced between four and five -thousand in his time, sometimes completing -three or four in a week for years on end, and -even in his more leisured times producing -six or seven per month, so it was of course -inevitable that their value should not be -equal. The very early work painted in -Devonshire is of little worth. Italy opened -the eyes of Joshua Reynolds as it has opened -the eyes of so many British artists since his -time. Fortunate in his life the painter was; -in a certain sense, unfortunate in his art. The -beauty he has committed to canvas had begun -to pass before the artist's days were numbered, -and many of his most successful works are -to-day no more than a pale reflection of their -former selves, a remnant most forlorn of -what they were. One of his most painstaking -biographers and soundest critics, Sir Walter -Armstrong, has written, "Speaking roughly, -Sir Joshua's early pictures darken, the works -of his middle period fade, those of his late -maturity crack." -</p> - -<p> -"Despite these drawbacks, the painter's -position is unassailable, for it appeals alike to -the historian, to the philosopher who looks -to the outward semblance for reflection of -the spirit behind the mask, and to the artist -who finds so much to delight him in the -point of achievement to which Reynolds -raised portrait painting and can appreciate -the larger aspect of work that is visible in -some degree to everybody. -</p> - -<p> -The man was a sturdy Briton, he worked -hard all the days of his life, he had a large -measure of shrewd common sense, great -gifts, high ideals, and sufficient human -weakness to make him what the Spaniards call -"hombre como alquier otro," a man like any -other. His art may stand upon a pedestal -but he never did, he was too busy and too -unaffected to pose. "I'll be a painter if -you'll give me a chance to be quite a good -one," he is reported to have said, when a -little boy, to his father, the Plympton -school-master, and once a painter he worked on -and on, enjoying life but never abusing it, -until 1789, when he was sixty-six, and -apparently in the mellow autumn of his days. -Then as he was painting in his studio one July -morning, the sight of one eye failed him -suddenly. Quite quietly he laid his brushes -down. "All things have an end," he said; -"I have come to mine." Some two and a -half years were left to him but he would not -paint any more; he preferred to be judged by -the tasks he had accomplished in the light of -health. He continued to address the students -of the Royal Academy; he consented to -remain titular head of that body though Sir -William Chambers and Benjamin West, who -was regarded as a great painter in his day, -looked after the actual work of the high -office. He was not a mere cipher in the -counsels of the Academy on that account; to -the end he had his own way. Very masterful, -very human, very kind, he stands out -the most prominent figure in an age that -produced both Gainsborough and Romney. -</p> - -<p><br /></p> - -<hr /> - -<p class="capcenter"> -<a id="img-014"></a> -<br /> -<img class="imgcenter" src="images/img-014.jpg" alt="Nelly O'Brien" /> -</p> - -<p class="t3"> -<i>Nelly O'Brien</i> -</p> - -<p class="t3"> -(<i>Wallace Collection</i>) -</p> - -<p class="caption"> -Reynolds painted three portraits of this famous -courtesan, all of which have been engraved. The -one reproduced here, in which she wears a straw -hat that throws a skilfully expressed shadow over -her face, and in which she has a Maltese terrier on -her lap, is said to be the best. It has been engraved -at least three times. -</p> - -<hr /> - -<p> -The latter half of the eighteenth century -owes a heavy debt to Sir Joshua, so too do we -who turn to his many canvases for a glimpse -of the men who bore rule and the women -they delighted to honour—or dishonour. -He has preserved for us all that was -notable—statesmen, soldiers, sailors, churchmen, men -of letters, actors, fair women, frail women, -delightful children—they are all there, and if -we cannot see them all quite in their habit -as they lived, there is enough left to give a -very fair idea. The modern market carefully -nursed by a ring of astute professionals will give -almost any price for portraits of fair women -by Sir Joshua, though it may be suggested -that his greatest success was in the treatment -of men or at least that he saw far more in -men than in women. But Reynolds had not -studied classic figures for nothing, he could -give his fair sitters some suggestion of direct -association with those goddesses of old time -whom he had admired in Italy, and to this -treatment no exception was taken. It is -very rarely that Reynolds makes his women -human. Nellie O'Brien, whose portrait hangs -in the Wallace Collection, is one of the -exceptions, and an attempt is made to make the -"Duchess of Devonshire and Child," now at -Chatsworth, equally feminine, but one cannot -escape the thought that the mother's gesture -as expressed on the canvas is altogether -exceptional. She could not have played for -long with such a strong healthy baby without -ruffling the delightful costume or the carefully -arranged hair, and this, one feels, would -have been unendurable. Turn, on the other -hand, to the portraits of the men—how -significantly their faces speak of their -outstanding habits, labours or desires. Few -people could see so closely into his sitters as -Sir Joshua did, though in very many cases -they were not with him for more than a couple -of days. Yet he seemed able in that short -time to enter into their life history to produce -something that was a fine portrait and yet -more than a portrait—a psychological study, -not over elaborated, not insisted upon, not -in any way intruding upon the purely artistic -side of the work, but there, nevertheless, to be -seen to-day by those who have eyes to see. -To quote his own words, he looked upon his -sitters "with a dilated eye"; there was just -enough imagination to give an attractive -setting to the essentials; there was no need for -the classical or symbolical background to -whose doubtful charms the painter surrendered -now and again, but we may consider that -these affectations were a part of the art of his -time, and that, while he left many conventions -behind him, he could not trample upon them -all. -</p> - -<p> -It is well to remember that Sir Joshua was -not a heaven-sent genius, and that he arrived -at the perfection of his achievement by the -addition of hard labour to a considerable -natural gift. He started out with few -advantages save those that come to the young -man who finds a patron early in life; he had -many natural errors of taste to correct. -Students of his life and correspondence will -find many evidences to prove that the first -President of the Royal Academy mastered -his self-control, taste, and bearing towards -patrons as he mastered his art, slowly and -not without difficulty, but that as soon as a -lesson was mastered it was retained for all -time. The raw country lad from Devonshire -could not become all at once one of the -prominent figures in the society of his time. -</p> - -<p> -This is as it was bound to be—the people -who make no mistakes, who say and do the -right thing under all circumstances, who are, -so to speak, ready made and with every -modern equipment, are for the most part the -creation of their biographers. They have -not and never had a real existence as paragons -of progress and propriety. There was a -time when Joshua Reynolds was not very -competent, and but incompletely educated; -he became highly accomplished and well -read. There was a time when he exhibited -the tendencies of a snob; he learned to lay -them aside, and once abandoned he had no -further use for them. Unceasing endeavour -stimulated and refined him, he achieved -greatness not for himself alone but also for -British art. Before his day the most of the -fashionable portrait painters were foreigners. -Rubens and Van Dyck had many successors -and followers though they had no peers, but -after Reynolds had made his mark it was no -longer considered necessary to employ foreign -talent. The commanding ability of the -painter was associated with the easy authority -of the man of the world. Leaders of English -society found that Sir Joshua, despite his -deafness, was a fascinating companion. He shot -and hunted with them, he ate and drank with -them, he entertained them in fashion that -smacked more of the country than of the -town. Dr Johnson would suggest that he -sometimes took more than was absolutely -necessary for his well-being, but then the -doctor thought that all drinking, save -tea-drinking, was gross indulgence. From his -close acquaintance with men of mark and -women of social distinction came the intimacy -that the portraits reveal, the quality that -counts for so much in portraiture. There -were other attractions greatly admired then -and lost now, for Sir Joshua gave his pictures -a fine glaze that is said to have added much -to the beauty of the colouring, but was, alas, -ephemeral. It was purely experimental, and -when we consider the scientific resources of -the middle eighteenth century it is hardly -surprising to find that the charm did not -endure. For all we know to the contrary -this purely evanescent quality constituted one -of the charms of Reynolds while he lived, -but his fame rests upon more enduring -foundations. We look in vain to the spoken -and written word or to the written word -alone to sum up eighteenth century men of -thought and action as clearly and definitely as -Sir Joshua has done; his is a sincerity devoid -of prejudice. We see men as they were -even if the most of his women are seen as -they would have wished to be. Here then -is a part at least of the charm of Sir Joshua -Reynolds, the man was very human and -very discreet. He was by no means free -from jealousy notably where Gainsborough -and Romney were concerned; he knew well -enough that they were great competitors and -formidable. He lived a bachelor, and despite -all the Paul Prys among his contemporaries -the story of his amours (if any) remains -untold. Here at least is a fine and ample -discretion. It is with Angelica Kauffmann -that his name has been associated. We -know he was her friend and admirer, and -that she was one of the two lady members -of the Royal Academy as first constituted, -but there is little more than this at the -disposal of the conscientious biographer. Sir -Joshua was not the only man to succumb to -her charms; in years to come Goethe himself -was to acknowledge them. It is pleasant to -think that whatever the great painter's private -affairs may have been, they have remained -private for all time. What a wealth of -moralising this condition has enabled us to -escape! We are left to concern ourselves -solely with his progress as artist and as man, -and there is quite enough in this as may be -gathered from study of the artist's leading -biographers. Sir Walter Armstrong, Sir -Claude Phillips among the moderns, and -Northcote and Leslie and Taylor among -those nearer to the artist, are men who have -left little for those who endeavour to glean in -the field of biography. They have done -more than write the story of one man's -life—they have given us a valuable glimpse of -contemporary history. It is a grateful task -to write at considerable length of Sir Joshua, -because of his association with so many -leaders of contemporary thought and action. -Detail is out of the question in this brief note, -but the outlines of the strenuous and honourable -life may be set out here. -</p> - -<p><br /><br /><br /></p> - -<p><a id="chap02"></a></p> - -<h3> -II. HIS LIFE AND TIMES -</h3> - -<p> -Joshua Reynolds was born at Plympton -in Devonshire in the month of July 1723. -His father, the Rev. Samuel Reynolds, -master of the local grammar school, was -a scholar, and gave his boy the best -education at his command, intending to make -him a doctor when he grew up. But the -lad's talent developed early, his hands were -busy with the pencil at a very early age, and -at a time when to most lads reading is a -labour rather than a pastime, he was mastering -the elements of perspective and studying a -"Theory of Painting" by one Richardson. This -precocious interest in art was not to be -overlooked, and the Rev. Samuel Reynolds giving -up the idea of the medical profession for -his son, sent him in his seventeenth year to -London as pupil to a portrait painter named -Thomas Hudson, a man of some temporary -repute. He stayed there for three years, and -then a series of troubles with his master -culminated in a final quarrel, and the boy, -for he was hardly more, left London for his -native county, and set up in Devonport as -a portrait painter. His gift was already -sufficient to gain recognition, and the patronage of -local people was neither denied nor delayed. -Among them was Lord Mount Edgecumbe, -who was not content to have his portrait -painted, but, being convinced that the young -artist had talent, did all that in him lay to -help its development. Portraits were painted -in large numbers at Devonport, many are -known to-day, but for the most part they -are not classed with the master's great -achievements. A natural gift and three -years' association with Thomas Hudson could -not make the Reynolds we know and admire. -It was for Italy to do this and Lord Mount -Edgecumbe made Italy possible by introducing -his protégé to Commodore Keppel, a distinguished -sailor, who, on receiving a Mediterranean -command in 1749, invited his clever -friend to accompany him. Naturally the offer -was not slighted; by the summer of 1749 -the young painter was in the Eternal City -copying masterpieces. But he did not copy -in any slavish fashion; it was his firm belief, -and one he was to expound to students in -days to come, that copying is a delusive -industry and keeps the gifts of composition -and invention dormant, so that for lack of -proper exercise they lose their vitality. His -mind was at once synthetical and analytical; he -set himself to discover the foundation of the -excellence of the masterpieces, and many of -his copies were in a sense mere notes for -his own future guidance. He wanted assistance -to develop himself; he had no wish to -speak in the language of any of the mighty -dead. Yet his power of making an effective -copy must have been remarkable. Sir Walter -Armstrong, to whose life of Reynolds -reference has been made already, thinks that one -of the Rembrandts in our National Gallery -is no more than the copy by Sir Joshua of an -original. For three years the painter laboured -diligently, not only among the Michelangelos -in Rome, but among the works of lesser men -in Padua, Turin, Milan, and Paris. He had -learned enough in England to call the old -masters to his aid on the Continent, he could -appreciate all their canvases could tell him and, -when he returned home in his thirtieth year, -he was fully equipped to take a high place -among his fellow artists and to pave the way -to a supremacy that only Gainsborough and -Romney could challenge. -</p> - -<p> -He had not come unscathed through more -than three years of foreign travel, a fall from -his horse in the island of Minorca left his -face permanently scarred. Far more serious -was the chill contracted in the Vatican that -brought about the deafness from which he -suffered for the rest of his life. He reached -Devonshire in the autumn of 1752, took a -brief holiday there, and then, on the advice of -his patron Lord Mount Edgecumbe, decided -to try his fortune in London. Some of his -biographers say he went to Great Newport -Street, but it is more correct to say that his -first studio was in St Martin's Street, from -which he moved to Great Newport Street, -staying there till 1760, when he made his -last change to 47 Leicester Square, a house -still standing and largely devoted to auction -rooms to-day. -</p> - -<p><br /></p> - -<hr /> - -<p class="capcenter"> -<a id="img-030"></a> -<br /> -<img class="imgcenter" src="images/img-030.jpg" alt="Age of Innocence" /> -</p> - -<p class="t3"> -<i>Age of Innocence</i> -</p> - -<p class="t3"> -(<i>National Gallery</i>) -</p> - -<p class="caption"> -This delightful study of a little barefooted girl, -wearing a white dress and seated on the grass, was -bought for the Nation at the sale of Mr Harman's -pictures. It has been engraved by S. W. Reynolds, -Chas. Turner, and others, but the sitter has not -been traced. -</p> - -<hr /> - -<p> -One of his first London portraits was a -full length study of his sailor friend Keppel, -and that piece of work seems to have been -the foundation of his London fortunes; he -never looked back. Soon the studio was -crowded; one sitter succeeded another; the -painter had no time to do more than work. -His household affairs were watched by his -sister Frances, who does not appear to have -been an ideal housekeeper when the work of -the house grew and it became necessary to -entertain and be prepared to receive friends -at any reasonable hour. The painter grew -rich rapidly, and when he moved, in 1760, to -the house in Leicester Square, sister Frances -would drive about the town in a gilded coach -with coachman and footman in staring liveries. -Presumably the equipage served to advertise -the painter's prosperity. -</p> - -<p> -For many men the rapid success would -not have been good, they would have ceased -to strive and would have been content to -repeat themselves, but Joshua Reynolds, -with his high ideals and genuine enthusiasm -for work, was only stimulated by prosperity; -it was powerless to spoil him. While his -work was increasing in power he was selecting -friends from the ranks of the most -distinguished scholars and thinkers in town, and -while his labours were making him a bigger -artist, the association with great intellects -was making him a bigger man. The friendship -of Edmund Burke and Dr Samuel -Johnson alone would have been enough to -have lent distinction to the painter's life. He -was a great admirer of the lexicographer, and -has left an appreciation of his character, while -the old man's last words to him were an -exhortation to read the Bible regularly and -not to paint on Sundays. -</p> - -<p> -To many people Reynolds is known best -as the first President of the Royal Academy, -and it is necessary in dealing, however -briefly, with the story of his life to point out -how the Academy came into being. Down -to the middle of the eighteenth century -exhibitions of modern work would appear to -have been unknown. London's interest in -fine arts was strictly limited. People with -plenty of money hired an artist to paint their -portrait much as we should hire a painter -and decorator to put a house in good order. -Artists had comparatively little standing and -no representative institution; art was patronised -by a small section of the wealthy classes, -and the masses knew little and cared less -about the existence of even leading men. -The Society of Arts was founded about -1754, and a Society of Artists was founded -soon afterwards. Hogarth had given some -pictures to the gallery of the Foundling -Hospital, established by his great friend -Captain Coram. Reynolds' former master, -Thomas Hudson, Reynolds himself, and -several others sent pictures; the gallery was -open to the public and people visited it -with interest and pleasure. The possibilities -of regular exhibitions of modern work -became suddenly apparent then, and members -began to form associations for the development -of common interests. The Society of -Artists received in 1765 a certificate of -Incorporation from King George III., and -became the Incorporated Society of Artists -of Great Britain with a membership of more -than two hundred. Now in this country it -is only necessary to establish one society in -order that several other societies may establish -themselves in opposition, emulation, -imitation or something of the kind, and it was -quite in the order of things for the Free -Society of Artists to enter into competition -with the Incorporated Society. There were -many intrigues, and some of the men who -had the ear of the King, chief among them, -it is said, William Chambers the Architect -and Benjamin West, brought about the -establishment of the Royal Academy. King -George signed the Constitution of the new -body, which started with thirty-six members -including two ladies, Angelica Kauffmann -and Mary Moser. William Chambers -accepted the office of Treasurer, while -Goldsmith and Dr Johnson represented -Ancient History and Ancient Literature -respectively. To the astonishment of many -people the Presidency was offered to Joshua -Reynolds. His brother artists wanted him, -but King George III., who was not remarkable -for his artistic perceptions, preferred the -work of Benjamin West, and is said to have -been unable at first to subscribe to the -Academy's choice. The part Reynolds -played in the business that led to the -collapse of the Incorporated Society and the -establishment of the R.A. remain unknown -to this hour. To all outward seeming he -stood quite aloof from the intrigues, for a -part of the time of their occurrence he was -travelling on the Continent; yet those who -have studied his life history closely and -noted the abundant and subtle diplomacy -that marked his public as well as his private -life, suspect that his influence was behind -many of the developments of those stirring -years. Be this as it may the fact remains -that he did not at once accept the offer of -the Presidency; he asked time to consider -and to consult his friends, and Benjamin -West was sent to persuade him before he -would give a favourable answer. What a -pity that there was no painter at hand to -defeat Benjamin West persuading Joshua -Reynolds to become first President of the -Royal Academy! Certainly, if the latter was -pulling the wires he did the work in fashion -quite inimitable. Having held out sufficiently -he gave in, and a year later received from -King George the honour of Knighthood. -</p> - -<p> -It is characteristic of Sir Joshua Reynolds -that, having become President, he should be -at great pains to justify his new position. -It was not an empty honour, the annual -exhibition would need and demand proof of -his accomplishment and industry, while, as -the Academy was to be a teaching Institution, -he saw himself face to face with the necessity -of finding time to prepare addresses for the -benefit of the students. Perhaps the best -praise to be given to these discourses on art -is the reminder that they are still in steady -demand, indeed, they are the most accessible -guide to their author's methods. His grasp -of principles, his breadth of view and critical -insight are all the more attractive because of -the ease and fluency with which they are -expressed. To the man who has never held -a paint brush as well as to the novice in art and -the old experienced hand, there is a definite -appeal. He shows one and all that his -triumph as a portrait painter is not a mere -affair of happy chance, but the logical -outcome of certain principles followed without -concession. Many moderns will not see eye -to eye with him, they may ever hold that he -was quite mistaken in many of his views, -but the change of fashion and the modification -of thought are of less importance than -the fact that Sir Joshua accepted, followed, -and taught certain theories and lived in the -light of them. Nearly one hundred and fifty -years have passed since the Academy was -established, but it has not produced another -teacher like Reynolds. He had not exhausted -his honours when he came to be President; in -years to come he was to become painter in -ordinary to the King and to be entrusted -with a considerable commission by that -remarkable woman the Empress Catherine of -Russia. He was a welcome guest at many of -the most beautiful homes in England and he -travelled abroad extensively, but nothing -kept him from his Presidential duties until -the last year of his life brought sickness in -their train. -</p> - -<p><br /></p> - -<hr /> - -<p class="capcenter"> -<a id="img-040"></a> -<br /> -<img class="imgcenter" src="images/img-040.jpg" alt="Duchess of Devonshire and Child" /> -</p> - -<p class="t3"> -<i>Duchess of Devonshire and Child</i> -</p> - -<p class="t3"> -(<i>Chatsworth</i>) -</p> - -<p class="caption"> -This picture, sometimes known as "The Jumping -Baby," is in the possession of the Duke of -Devonshire at Chatsworth. When first seen -some people found fault with it, Horace Walpole -among the number, but it has gained popularity -with age. The composition is very skilled, but -the Duchess is perhaps rather too much <i>en grande -tenue</i> to appear as nurse. -</p> - -<hr /> - -<p> -When we consider the ill fortune of the -Incorporated Society and the Society of -Artists and remember how actively men -intrigued then, as now, it is not difficult -to see that the Royal Academy owes a heavy -debt to Sir Joshua, who may be said to have -nursed it with the greatest care during its -infancy and was such a generous contributor -to the walls of its annual exhibition that he -is said to have sent nearly two hundred -and fifty pictures during his term of office. -The first Exhibitions were held in Pall Mall, -but during Sir Joshua's lifetime there was -a move to Somerset House. To 1838 the -annual display was transferred to the National -Gallery, and in 1869 Burlington House became -the centre of activities that increase in volume -if not in interest year by year. -</p> - -<p> -It is impossible to compile a list of the -distinguished men and interesting women -who sat to Sir Joshua, but a very brief -resume may be made of some of the most -familiar. The three Ladies Waldegrave, -Georgiana, Duchess of Devonshire, Lady -Cockburn and her children, Mrs Master -as Hebe, Miss Kitty Fisher, Miss Nelly -O'Brien, Mrs Lloyd, the Honourable Lavinia -Bingham, Angelica Kauffmann, Mrs Hoare -and her baby, Countess Waldegrave and -daughter, Mrs Siddons as the Tragic Muse, -The Graces decorating a Terminal Figure -of Hymen, the Duchess of Devonshire and -baby—here we have a few of the female -portraits by which the painter would have -achieved success if he had painted no others. -</p> - -<p> -He painted four or five portraits of King -George III., two of his wife, and two of -George IV. as Prince of Wales; the number -of peers is legion. Among statesmen Edmund -Burke sat to him five times and Charles -James Fox four. Brinsley Sheridan sat -twice and Horace Walpole three times. -Other men sitters of note were Bartolozzi -the engraver, Dr Burney, David Garrick, -Dr Johnson, Boswell, Oliver Goldsmith, -Gibbon the historian, Tobias Smollett and -Laurence Sterne. Of himself Reynolds -painted between forty and fifty portraits. -</p> - -<p> -Successful as he was in expressing the -moods of men and the fascination of women, -it is impossible in writing of the charm of -Reynolds to forget the part the children -play in his work. It would be hard indeed -to find a painter who has expressed the joy -and happiness of childhood with equal effect. -Some of the children so depicted are seen -with their mothers, and one feels that the -portrait was painted more for the mother -than for the child; but there are many canvases -from which the children alone smile at us, -captured for our time in all their youthful -radiance though some have lain for a century -dead. The children of Lady Smythe stand -happily apart from their rather self-conscious -mother, and among the single-figure portraits -of children are Lady Catherine Pelham Clinton, -Lady Caroline Howard, Miss Emma Hart -(afterwards Lady Hamilton), Charles, -Viscount Althorp, Miss Bowles the Strawberry -Girl, "The Age of Innocence," "The Infant -Samuel," and many others that the mind and the -memory love to dwell upon. How pleasant -it is to remember that Nature so careless of -the individual is so careful of the type that -it blossoms anew with every generation! -</p> - -<p> -Having written, however briefly, of the -children in Reynolds' picture, it seems -unnecessary to say more of his charm; they will -stand for it until the end comes, the hour -when the pigments can endure no longer and -the labour of the master is ended. -</p> - -<p> -There is little to add to the story of Sir -Joshua after he became President of the -Royal Academy. Down to 1789, when -sickness came suddenly upon him, his was -a prosperous career, passed in the most -stimulating company of his age, associated -with foreign travel and delightful English -holidays. Only once in all these later years -does his critical insight appear to have failed -him, and this was when he went to Holland -and remained unmoved by the work of -Franz Hals. What, one wonders, did he -see or fail to see when he stood before the -portrait of the Laughing Cavalier and the -musician (Der Vaar), the painter's wife and -the market girl? Londoners mourned when -Reynolds' life came to an end, and they buried -him with much pomp and ceremony by the -side of Sir Christopher Wren. But he may -well be content with the measure of his own -immortality. No British portrait painter has -seriously challenged his supremacy, and few -may hope to rival his output. The Graves -and Cronin catalogue mention three thousand -pictures and probably leave well over a -thousand unnamed. It is possible for the -amateur to name a hundred examples of his -portraiture, any of which would have justified -a claim to posthumous honours. -</p> - -<p><br /><br /></p> - -<p class="t4"> - PRINTED BY<br /> - TURNBULL AND SPEARS,<br /> - EDINBURGH<br /> -</p> - -<p><br /><br /><br /><br /></p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE CHARM OF REYNOLDS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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