Sir Joshua Reynolds.

by Estelle M. Hurll.

PREFACE

This selection of pictures from Reynolds's works is intended to show him at his best in the various cla.s.ses of subjects which he painted.

Johnson and Lord Heathfield are among his finest male portraits, Miss Bowles and Master Bunbury are unsurpa.s.sed among his pictures of children, and the Strawberry Girl was the painter's own favorite fancy picture. Penelope Boothby and Angels' Heads are popular favorites which could not be omitted from any collection. In Lady c.o.c.kburn and Her Children, The d.u.c.h.ess of Devonshire and Her Child, and Pickaback we have typical groups of mothers and children. Mrs. Siddons stands apart as one of his most unique and remarkable productions. The other pictures add as much as possible to the variety of the collection, and show something of the range of Reynolds's art.

ESTELLE M. HURLL.

NEW BEDFORD, Ma.s.s.

September, 1900.

INTRODUCTION

I. ON THE ART OF REYNOLDS

The name of Sir Joshua Reynolds holds a place of honor among the world's great portrait painters. To appreciate fully his originative power one must understand the disadvantages under which he worked. His technical training was of the meagrest kind, and all his life he was hampered by ignorance of anatomy. But on the other hand he combined all those peculiar qualities of the artist without which no amount of technical skill can produce great portrait work.

He had, in the first place, that indefinable quality of taste, which means so much in portraiture. His was an unerring instinct for poise, drapery, color, and composition. Each of his figures seems to a.s.sume naturally an att.i.tude of perfect grace; the draperies fall of their own accord in beautiful lines.

Reynolds knew, too, the secret of imparting an air of distinction to his sitters. The meanest subject was elevated by his art to a position of dignity. His magic touch made every child charming, every woman graceful, and every man dignified.

Finally, he possessed in no small degree, though curiously enough entirely disclaiming the quality, the gift of presenting the essential personality of the sitter, that which a critic has called the power of "realizing an individuality." This is seen most clearly in his portraits of men, and naturally in the portraits of the men he knew best, as Johnson.

It is a matter of constant amazement in studying the works of Reynolds to observe his "inexhaustible inventiveness in pose and att.i.tude." For each new picture he seemed always to have ready some new compositional motive. Claude Phillips goes so far as to say that in the whole range of art Rembrandt alone is his equal in this respect. This versatility was due in a measure to his story-telling instinct. His imagination seemed to weave some story about each sitter which the picture was intended, as it were, to ill.u.s.trate. From Lord Heathfield, refusing to yield the keys of Gibraltar, to little Miss Bowles, dropping on the ground in the midst of her romp, through the long range of mothers playing with their children, there seems no end to the variety of lively incident which he could invent.

The pose of the sitter suggests some dramatic moment in the imaginary episode. Often the att.i.tude is full of action, as in the Miss Bowles, and at times there is a striking impression of motion, as in Pickaback. So strong is the dramatic effect conveyed by these pictures that the figures seem actually taken unaware in the very act of performance, as by a snapshot in modern photography. This quality of "momentariness," as Phillips calls it, so dangerous in the hands of a commonplace painter, lends a peculiar fascination to many of Reynolds's pictures. That he also appreciated the beauty of repose we see in such portraits as Penelope Boothby and Anne Bingham.

Reynolds's inventiveness was so overtaxed by his enormous number of sitters that it is scarcely to be wondered at that it sometimes failed him. Occasionally he resorted to such artificial devices as were common among his contemporaries. Such fresh inspirations as the Strawberry Girl and Master Bunbury could come but rarely in a lifetime. The spontaneity of Miss Bowles is perhaps unexcelled in all his works.

Reynolds's compositional schemes are of an academic elegance reminiscent of Raphael. He knew well how to accomplish the flow of line, the balance of ma.s.ses, the symmetry of outline, which produce a harmonious effect. A variety of designs were at his command, from the well-worn but always effective pyramidal form ill.u.s.trated in many single figures, to those more novel forms he invented for groups such as Lady c.o.c.kburn and the d.u.c.h.ess of Devonshire.

Reynolds was frankly a borrower from many sources. In the Roman, the Bolognese, the Venetian, Flemish, and Dutch schools, he found something to appropriate and make his own. From Rembrandt he took suggestions of lighting, and such sombre color harmonies as are seen in the portrait of Mrs. Siddons. Something of bloom and splendor he caught from the florid Rubens; something of the decorative effectiveness of such pictures as Lady c.o.c.kburn may be traced to the influence of t.i.tian and the Venetians. Yet to all that he borrowed, Reynolds added his own individual touch. As a critic has said, he was always Reynolds from first to last.

Much has been written of the evanescence of Reynolds's colors. His pa.s.sion for color experiments amounted to a mania, and cost the world many beautiful pictures. Precisely what was the nature of these experiments, and what combination of pigments ruined his pictures, is of interest only to the expert. Fortunately, enough pictures escaped to show us the original glory of those which have faded. Among the best preserved canvases, "those in which his power and brilliancy appear least impaired, those in which the typical Sir Joshua still most unmistakably shines forth," are Lady c.o.c.kburn and her Children, Miss Bowles, Mrs. Siddons, and Angels' Heads.

The range of Reynolds's art is much wider than is commonly supposed. A very imperfect appreciation of his gifts is gained by those who know only his portraits of women and children. These indeed show a peculiar insight into childhood, and a rare delicacy in the interpretation of womanhood. But Reynolds is at his strongest in the portrayal of men.

It is by such portraits as the Johnson and Heathfield that he is worthy a place among the immortals.

II. ON BOOKS OF REFERENCE

THE original biographical material on the subject of Reynolds was supplied by his own contemporaries. His friend Malone wrote a valuable Memoir (1804), and his pupil Northcote furnished the first biography of the painter, the Life of Reynolds in two volumes published in 1813.

A half century later (1865) was published the most comprehensive work on Reynolds in two large volumes by C. R. Leslie and T. Taylor. At about the same time (1866) appeared a book by F. G. Stephens, "English Children as painted by Sir Joshua Reynolds."

All these books have been long out of print, and there are now but two books of reference generally available. "Sir Joshua Reynolds," by Claude Phillips (1894), is a small volume, but it gives a fairly complete summary of the painter's works, with valuable critical comments. Sir Walter Armstrong's large and richly ill.u.s.trated work "Sir Joshua Reynolds" (1900) treats the subject exhaustively, and contains a complete descriptive catalogue and directory of Reynolds's works--portraits and subject pictures--arranged in alphabetical order.

There is an immense bibliography of memoirs of the period of George III., and such books throw an interesting light upon the lives of many of Reynolds's sitters. Some of the most valuable are Horace Walpole's "Letters," f.a.n.n.y Burney's "Diary," Mrs. Piozzi's "Memoirs," and Wraxall's "Memoirs."

In addition to these, Boswell's incomparable "Life of Johnson"

presents a series of vivid pictures of the life of the period, and contains many anecdotes of the friendship between Reynolds and the great lexicographer.

Reynolds's lectures and writings fill two volumes of the Bohn Library.

Of these the twelve discourses delivered before the Royal Academy are the most valuable, and have been reprinted in various editions. The most recent is that of 1891, with notes and a biographical introduction by E. G. Johnson. Intended as means of instruction to beginners in painting, these lectures deal with general principles rather than with practical technique, and are not to be taken as expository in any measure of Reynolds's own art.

III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION

_Portrait frontispiece._ Painted in 1776 for the Imperial Academy in Florence, and now in the Uffizi Gallery, Florence.

1. _Penelope Boothby._ Painted in July, 1788. In the possession of Mrs. Thwaites.

2. _Master Crewe as Henry VIII._ Painted in 1775 for John Crewe, Esq., and exhibited at the Royal Academy, 1776. Size: 4 ft. 8 in. by 3 ft. 9 in. In the possession of the Earl of Crewe.

3. _Lady c.o.c.kburn and her Children._ Reynolds began the picture in 1773 and upon its completion in 1774 received 183 15s. in payment. It was exhibited at the Royal Academy in 1774, after which it was dated 1775. Pa.s.sed into the possession of Lady Hamilton, daughter of Sir James c.o.c.kburn (7th baronet), and by her bequeathed to the English National Gallery, where it hung, 1892-1900, when it was learned that Lady Hamilton had no power to dispose of the picture. It was then sold at auction to Mr. Beit, Park Lane, London. Size: 4 ft. 6 in. by 3 ft. 7-1/2 in.

4. _Miss Bowles._ Painted in 1775. Now in the Wallace Collection, Hertford House, London. Size: 2 ft. 11-1/2 in. by 2 ft. 3-3/4 in.

5. _Master Bunbury._ Exhibited at the Royal Academy, 1781; bequeathed by Reynolds to Mrs. Bunbury. In the possession of Sir Henry Bunbury.

Size: 2 ft. 5 in. by 2 ft.

6. _Mrs. Siddons as the Tragic Muse._ Painted in 1783 and exhibited at the Royal Academy in 1784. The original work was bought by M. de Calonne for 800 guineas, and finally came into the possession of the Marquis of Westminster, in whose family it has since remained. It is in the gallery of Grosvenor House, London.

7. _Angels' Heads._ Painted for Lord William Gordon (100 guineas) and exhibited at the Royal Academy, 1787. Presented by Lady Gordon to the National Gallery, London, 1841. Size: 2 ft. 6 in. by 2 ft. 1 in.

8. _The d.u.c.h.ess of Devonshire and her Child._ Exhibited at the Royal Academy in 1786. The original is at Chatsworth House, and there is a copy at Windsor Castle, from which our reproduction is made.

9. _Hope._ One of the figures of the window design, New College Chapel, Oxford. The original design was painted in oil in 1778, and was purchased by the Earl of Normanton.

10. _Lord Heathfield._ Begun August 27, 1787, and exhibited at the Royal Academy in 1788. Originally painted for Alderman Boydell, and purchased by Parliament in 1824. Now in the National Gallery, London.

Size: 4 ft. 8 in. by 3 ft. 8 in.

11. _Mrs. Payne-Gallwey and Child_ (Pickaback). Painted 1779. As late as 1886 it was in the possession of Lord Monson, and is now owned by J. Pierpont Morgan, Esq.

12. _Cupid as Link Boy._ The date is not certainly fixed, but it is known that Reynolds was at work in the spring of 1771 upon some subjects of this cla.s.s, several of which were engraved in the period 1771-1777. In the possession of Alexander Henderson, Esq. Size: 2 ft.

5 in. by 2 ft.

13. _Hon. Anne Bingham._ Painted in 1786. In the possession of Earl Spencer. Size: 2 ft. 5-1/2 in. by 2 ft. 1/2 in.

14. _The Strawberry Girl._ Painted for the Earl of Carysfort (50 guineas) and exhibited at the Royal Academy, 1773. As Reynolds repeated the subject it is difficult to trace the history of the original picture. The painting now in the Wallace Collection, Hertford House, came from the Samuel Rogers Collection. Size: 2 ft. 5-3/4 in.

by 2 ft. 3/4 in.