Sir Joshua Reynolds – English portrait painter of the 18th century

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Joshua Reynolds was born into the family of Reynolds, who held the post of headmaster in a local grammar school, which Joshua attended as a boy. The young Reynolds received a good classical education; he loved literature and became well-read in classical Greek and Roman authors. He revealed his interest in and talent for painting rather early. The monument to an artist in the Royal Academy's yard.

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Early life Reynolds was born in Plympton, Devon, on 16 July 1723 the third son of the Rev. Samuel Reynolds, master of the Free Grammar School in the town. Samuel Reynolds had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university. One of his sisters was Mary Palmer (1716–1794), seven years his senior, author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on him when a boy. In 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshua's pupilage, and nine years later advanced money for his expenses in Italy.

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Reynolds lived in Rome for two years. After that he spent five month in Parma, Florence and Venice. Then he visited other important cities in Italy. He went back to England and became a famous portrait painter.

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Since 1768 Sir Joshua Reynolds was the first president of the Royal Academy. He was the president for 24 years and created in the academy a body of highly skilled professional artist. Burlington House – the Royal Academy of Arts

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His work is characteristic of a rare artistic variety combining the dignity and greatness of Grand Manner with feelings, fine psychological observations and artistic freedom. There are not many artists in history who were able to render such an exceptional combination of emotions and technique. The models in these works are idealized and very often the subjects are Greek and Roman deities.

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The other type of portraiture - he usually painted people he knew well in this style - is intimate, without spectacular attributes, and psychologically subtle. The portraits of children and women are lyrical and straightforward.

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Back in Devon in 1746, he painted a large group portrait of the “Eliot Family” ( c. 1746/47), which clearly indicates that he had studied the large-scale portrait of the “Pembroke Family” (1634–35) by the Flemish Baroque painter Sir Anthony Van Dyck, whose style of portrait painting influenced English portraiture throughout the 18th century. The Eliot Family. c.1746. Oil on canvas. 87 x . Trustees of the St Germans Estate, Port Eliot .

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Man in a Brown Coat. Oil on canvas. 76 x 63.5 cm. 1748. Marble Hill House, Twichenham, English Heritage, UK

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Miss Thorold. 1759. Oil on canvas. 76 x 63.5. Private Collection.

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Sir Joshua Reynolds self-portrait Oil on canvas His official self-portrait shows him in an elegant pose with his glove in his hand, the body fitting nicely into the noble triangular outline which Raphael and Titian had favored, and behind him on the right appears a bust of Michelangelo.

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Kitti Fisher with scare, 1763 -17 64

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Miss Siddons as the Tragic Muse