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-The Project Gutenberg eBook, Reynolds, by S. L. (Samuel Levy) Bensusan
-
-
-This eBook is for the use of anyone anywhere 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
-
-
-
-
-
-Title: Reynolds
-
-
-Author: S. L. (Samuel Levy) Bensusan
-
-
-
-Release Date: November 27, 2012  [eBook #41497]
-
-Language: English
-
-Character set encoding: ISO-646-US (US-ASCII)
-
-
-***START OF THE PROJECT GUTENBERG EBOOK REYNOLDS***
-
-
-E-text prepared by sp1nd and the Online Distributed Proofreading Team
-(http://www.pgdp.net) from page images generously made available by
-Internet Archive (http://archive.org)
-
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-
-Note: Project Gutenberg also has an HTML version of this
-      file which includes the original illustrations,
-      some of which are in color.
-      See 41497-h.htm or 41497-h.zip:
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-      or
-      (http://www.gutenberg.org/files/41497/41497-h.zip)
-
-
-      Images of the original pages are available through
-      Internet Archive. See
-      http://archive.org/details/reynolds00bensuoft
-
-
-
-
-
-Masterpieces in Colour
-
-Edited by--T. Leman Hare
-
-REYNOLDS
-1723-1792
-
-      *      *      *      *      *
-
-IN THE SAME SERIES
-
-    ARTIST.                AUTHOR.
-  VELAZQUEZ.             S. L. BENSUSAN.
-  REYNOLDS.              S. L. BENSUSAN.
-  TURNER.                C. LEWIS HIND.
-  ROMNEY.                C. LEWIS HIND.
-  GREUZE.                ALYS EYRE MACKLIN.
-  BOTTICELLI.            HENRY B. BINNS.
-  ROSSETTI.              LUCIEN PISSARRO.
-  BELLINI.               GEORGE HAY.
-  FRA ANGELICO.          JAMES MASON.
-  REMBRANDT.             JOSEF ISRAELS.
-  LEIGHTON.              A. LYS BALDRY.
-  RAPHAEL.               PAUL G. KONODY.
-  HOLMAN HUNT.           MARY E. COLERIDGE.
-  TITIAN.                S. L. BENSUSAN.
-  MILLAIS.               A. LYS BALDRY.
-  CARLO DOLCI.           GEORGE HAY.
-  GAINSBOROUGH.          MAX ROTHSCHILD.
-  TINTORETTO.            S. L. BENSUSAN.
-  LUINI.                 JAMES MASON.
-  FRANZ HALS.            EDGCUMBE STALEY.
-  VAN DYCK.              PERCY M. TURNER.
-  LEONARDO DA VINCI.     M. W. BROCKWELL.
-  RUBENS.                S. L. BENSUSAN.
-  WHISTLER.              T. MARTIN WOOD.
-  HOLBEIN.               S. L. BENSUSAN.
-  BURNE-JONES.           A. LYS BALDRY.
-  VIGEE LE BRUN.         C. HALDANE MACFALL.
-  CHARDIN.               PAUL G. KONODY.
-  FRAGONARD.             C. HALDANE MACFALL.
-  MEMLINC.               W. H. J. & J. C. WEALE.
-  CONSTABLE.             C. LEWIS HIND.
-  RAEBURN.               JAMES L. CAW.
-  JOHN S. SARGENT.       T. MARTIN WOOD.
-
-_Others in Preparation._
-
-      *      *      *      *      *
-
-
-[Illustration: PLATE I.--MRS. HOARE AND CHILD. In the Wallace
-Collection, London. (Frontispiece)
-
-This picture is perhaps one of Sir Joshua Reynolds' most beautiful
-compositions. The flesh painting is very fine and the handling of the
-dress remarkably free, its delicate colouring being in beautiful harmony
-with the surroundings. The painter gave us a portrait of the same child
-when he was a boy; it is now in the collection of Baron Albert de
-Rothschild. Sir Joshua made for this picture a sketch in oils which
-hangs in the Gallery at Bridgewater House.]
-
-
-
-REYNOLDS
-
-by
-
-S. L. BENSUSAN
-
-Illustrated with Eight Reproductions in Colour
-
-
-
-
-
-
-
-[Illustration]
-
-London: T. C. & E. C. Jack
-New York: Frederick A. Stokes Co.
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-  Plate
-     I. Mrs. Hoare and Child                    Frontispiece
-          In the Wallace Collection, London
-                                                        Page
-    II. Nelly O'Brien                                     14
-          In the Wallace Collection, London
-
-   III. The Three Graces                                  24
-          In the National Gallery, London
-
-    IV. The Age of Innocence                              34
-          In the National Gallery, London
-
-     V. Lord Heathfield                                   40
-          In the National Gallery, London
-
-    VI. Portrait of Two Gentlemen                         50
-          In the National Gallery, London
-
-   VII. Portrait of Lady and Child                        60
-          In the National Gallery, London
-
-  VIII. Duchess of Devonshire and Child                   70
-          At Chatsworth House, Derbyshire
-
-
-
-
-[Illustration]
-
-There are certain men born to every generation who approach life with
-the complete assurance of distinction in any work that they may have
-chosen for the exercise of their gifts. They are strangers to doubt and
-uncertainty; they disarm Fortune by claiming freely as a right what she
-is accustomed to grant grudgingly as a favour--"they ride Life's lists
-as a knight might ride." One feels that these fortunate few are destined
-for success just as the majority are doomed to failure, that nothing
-save a long series of mishaps can keep them from the goal of their
-ambition. They have the temperament that makes achievement easy, and a
-steadfast determination that the demons of mischance cannot resist for
-long.
-
-When one turns to consider English art in the eighteenth century, the
-name of Joshua Reynolds stands out in a brighter light than any
-other. One would not say that he was the greatest painter of his
-time--Gainsborough's gifts exceeded his in many directions, and Romney
-enters into competition too--but Reynolds was born under a fortunate
-star, and Nature gave him as a birthday present a rare mixture of
-talent, industry, and common-sense, together with a sober judgment that
-could not be turned aside by passion or emotion. Such gifts, if they do
-not always create a genius, may enable their possessor to achieve work
-that has certain affinities with the masterpieces of the immortals.
-Nobody in these days would deny for a moment that Reynolds possessed
-qualifications of the highest order; but ours is an age of hero-worship,
-and we are rather inclined to go beyond our brief in dealing with a
-representative man whose work has survived the criticism (though, alas,
-it has not always survived the atmosphere) of nearly two centuries.
-Reynolds is not the less a great painter because he did not happen to be
-the great man so many of his biographers have seen, nor was he a
-heaven-sent genius of the kind that flutters the musical dovecots from
-time to time. Infant prodigies are hardly known in the world of art,
-and Reynolds started life as a clever young man determined to make a
-name. He became soon a painter strong enough to realise his own
-limitations and those of his age, and to take the best possible steps to
-secure for his own art, and incidentally for that of his country, the
-highest position in the esteem of the world at large. Had there been no
-Reynolds there might have been no Royal Academy--the Institution in its
-earliest days was indebted very deeply to him. Himself far above the
-squabbles of the hour, he raised the Royal Academy into the serene and
-almost untroubled atmosphere in which he lived his life.
-
-[Illustration: PLATE II.--NELLY O'BRIEN. (In the Wallace Collection)
-
-This portrait is one of the best examples of Sir Joshua's art, and was
-painted in 1763. The shadow on the face is most skilfully managed. The
-lace round the arm and the skirt are painted in the artist's best
-manner. It will be remembered that Sir Joshua painted other portraits of
-this fascinating woman.]
-
-"I will be a painter, if you will give me the chance of being a good
-one," he is said to have remarked when quite a lad, and this is but
-one of the simple sentences that hold and in a sense reveal the keynote
-of his character. Reynolds was determined to succeed. When he started
-his work there were few people in England who could guide him in the
-right way, and consequently we must not look for any great achievement
-in the early portraits. The painter may be said to have owed his first
-success to Commodore Keppel, who took him on a cruise in the
-Mediterranean and helped him to come into touch with the great
-masterpieces that will probably stimulate artists for all time. In
-return, the painter gave the sailor a measure of fame that his naval
-achievements would hardly have secured.
-
-Italy turned the dross of Reynolds' art to fine gold, and he never
-shrank from acknowledging the debt. Had he stayed in England he might
-have been a greater man than all his contemporaries, save Gainsborough
-and Romney, but he could not have given the world any one of the
-pictures that are reproduced here. Art will not yield to inspiration
-alone. The musician, or the literary man, with very simple education may
-be able to achieve wonders, but the artist who looks to brushes and
-colours for his medium must sacrifice diligently for many years at the
-shrine of technique before his hand can express what is in his brain.
-The years between 1749 and 1752, devoted by Reynolds to studying and
-copying the Vatican frescoes and the pictures of Padua, Milan, Turin,
-and Paris, were invaluable. Indeed he was one of the greatest copyists
-of his time, and Sir Walter Armstrong thinks that one of his copies of a
-Rembrandt is classed among the originals in the National Gallery
-to-day!
-
-Down to the year of the Italian journey the young painter's life had
-been quite uneventful. Born in 1723 at Plympton in Devonshire, where his
-father was a school-master, he was apprenticed in London to Thomas
-Hudson, a portrait painter of the day and a Devon man too. Hudson gave
-his pupil Guercino's drawings to copy. Before the time of apprenticeship
-had expired Reynolds had quarrelled with his master and gone back to
-Devonshire, where he painted work that was of no great importance, under
-the patronage of the first Lord Edgcumbe. At his house Reynolds met the
-Commodore Keppel, whose kindness enabled him to see Italy, and it was
-the sojourn in that real home of art that brought Reynolds back to
-England a portrait painter of the first class.
-
-Michelangelo had impressed him deeply. In later days he never lost an
-opportunity of advising students to sit at the feet of the great master,
-and the influence of the work in the Sistine Chapel may be noted in the
-famous picture of Mrs. Siddons, now to be seen in the Dulwich Gallery.
-Ludovico Caracci and Guido had given him hints that were of infinite
-value in the moulding of his technique; for colour he had gone to
-Titian, Tintoretto, and Rubens, of whom the last named was beginning to
-lose his appeal in the last years of Reynolds' life. Sir Joshua had a
-supreme facility for taking from every artist the best that was in him,
-melting it in the crucible of his own thought, and applying the product
-to his pictures. There is no doubt that the sixteenth-century Venetians
-impressed Reynolds as much as they impressed Ruskin at a later date, but
-in the middle of the eighteenth century the school of Bologna was in
-the ascendant in England, and it is through Reynolds' actions rather
-than his words that we see how Venice had influenced him. Sir Walter
-Armstrong thinks that Reynolds lived well rather than wisely in Italy,
-and that when he came back to town his wild oats were all sown, but it
-is hard to find any justification for the belief that Reynolds was at
-any time of his life a free liver. The pleasures of the table may have
-claimed him when he reached middle age; indeed, Dr. Johnson said to him
-on one occasion, "You complain about the tea I drink, but I do not count
-the glasses you empty," or words to that effect. As far as other forms
-of dissipation go, there is no evidence that Reynolds was ever a victim
-to them. He was always perfect master of his self-control, and when the
-years had toned down certain faults of thought and manner, he became
-mellowed, like old wine, and not less stimulating.
-
-Students of the famous discourses that Sir Joshua addressed annually to
-the Royal Academy after he became first President of the new
-institution, may be justified if they suspect that the great painter
-adopted the same rule in dealing with his students that skilled musical
-composers use when dealing with their pupils. A musican knows that the
-laws of harmony and counterpoint are not fixed, that the musical horizon
-widens year by year, and that rules may often be disregarded by a
-composer who has something to say; but, in order that composition may
-grow from some definite form, it is necessary that the rules should be
-mastered before they are disregarded. So in dealing with things of art,
-Reynolds said much to his audience that his own practice did not bear
-out. He would not hint at his own preferences quite so frankly as his
-canvases did and it is not at all unlikely that he realised as well as
-we do, that while students, like the poor, are always with us, great
-artists are few and far between, and will survive all academic
-limitations.
-
-When Reynolds came back to England in 1752, he went down to Devonshire
-to recruit his health. While his sojourn abroad had been productive of
-so much that had been invaluable to him, he had met with two unfortunate
-accidents. In Minorca he had fallen from his horse and sustained
-injuries that had left his face scarred for all time. In the Vatican he
-had sustained a chill that brought about the deafness destined to be a
-life-long infirmity. So he took holiday in the county he loved so well,
-and after his return he opened a studio in St. Martin's Street, acting
-on the advice of his friend and patron, Lord Edgcumbe. There was no
-period of weary waiting. Thanks to the quality of his work and the
-patronage granted so freely, he began at once to enjoy the success that
-belongs to the popular portrait painter. A little later he moved to
-Great Newport Street, where the accommodation was better suited to the
-growing claims of sitters, and in 1760 he went to 47 Leicester Square,
-now an auction-house, where he lived for the remainder of his life. As
-he moved he raised his prices, but nobody seemed to mind. Everybody who
-was anybody, paid cheerfully. So did some of the other people.
-
-[Illustration: PLATE III.--THE THREE GRACES. (In the National Gallery)
-
-This picture was exhibited at the Royal Academy in 1774 and called,
-"Three Ladies adorning a Term of Hymen." It was bequeathed to the
-National Gallery by the Earl of Blessington. The Graces are the three
-daughters of Sir W. Montgomery. The one on the left kneeling down is the
-Hon. Mrs. Beresford, in the centre is the Hon. Mrs. Gardener, mother of
-Lord Blessington, and on the right is the Marchioness Townsend.]
-
-Many artists remain painters all their lives. Meet them in a studio or
-at a private view and they are illuminating; talk about another
-lying outside their immediate interests and they are dumb, or worse, for
-some talk without saying anything, as though they were mere politicians.
-Perhaps we have no right to complain of this lack of mental dimensions,
-but it is permissible to note with pleasure the few cases in which an
-artist reveals himself as an accomplished man of the world. Reynolds
-would never have been content to be nothing more than a painter, and he
-chose his friends so wisely that the living served him as well as the
-dead. If the great artists of Italy had shed light upon his path in one
-direction, what did he not owe to the men of his own generation, whose
-society must have been a source of inspiration to any intelligent man?
-Dr. Johnson himself could only have been inspiring company, even though
-we may think in our heart of hearts that the benefit of the inspiration
-was not without serious drawbacks. Reynolds enjoyed also the intimate
-friendship of Garrick, Goldsmith, Gibbon, and Burke, he consorted with
-many other men who made some mark in the world of thought, and in this
-atmosphere the extraordinary receptivity of his mind must have served
-him to great advantage. He had human weaknesses to live down, and it is
-to his credit that he conquered all or most of them. Like so many honest
-Englishmen, there was a touch of the snob about him--witness his
-correspondence with Lord Edgcumbe during the first visit to the
-Continent. He was not without jealousy, as may be seen from his pettish
-condemnation of the work of Liotard, the miniature painter and
-pastellist, and his references to Gainsborough and Romney, whose
-success and accomplishments galled him not a little. He was vulgar,
-until he learned refinement from the distinguished people with whom he
-was brought into contact--witness the gilded coach and gaudy liveries he
-bought when he established himself in Leicester Square, the coach in
-which his unfortunate sister Frances was compelled to drive in order
-that the man in the street might stare open-mouthed and talk about her
-brother. There is hardly a "Lion Comique," or a lady of the music halls
-drawing prime minister's salary for songs blatant or obscene, who would
-commit such an offence to-day, and against these lapses from taste Sir
-Joshua's acquaintance with the best minds of his day failed to save him.
-Perhaps the atmosphere of Leicester Square in the eighteenth, as in the
-twentieth, century was a little theatrical. Of course the faults of a
-man and the merits of his work are distinct and stand apart from one
-another, but we are too apt to look at Reynolds the man in the light of
-Goldsmith's epitaph, and it is the failing of popular biography to
-supply popular people with a measure of moral equipment that would make
-a saint self-conscious. It is far more interesting to see great men as
-they lived, and understand that, like the rest of us, they had a fair,
-or unfair, share of faults. Had Sir Joshua possessed twice as many
-failings, he would still remain one of the greatest, if not the
-greatest, of British portrait painters. Had he associated all the
-virtues with less achievement, he could not have interested us, because
-happily we do not judge art by the moral standard of the artist.
-
-Perhaps the most remarkable side of Reynolds' mind was seen in its
-response to the real truths that underlie all the arts. He held his work
-to be a mode of expressing human experience, he knew that there was a
-domain lying beyond the reach of rules, and bade his students look "with
-dilated eye," sacrificing detail to general effect for the sake of the
-best and most imaginative work. He declared without any reservations,
-that he had found art in England in the lowest possible state, he
-compared some of his contemporaries' work with sign-post painting, but
-his fine courage was only stimulated by the bad conditions that
-prevailed. He sought to raise them, and as a portrait painter, made it
-his business to discover the perfections of his sitters, with the
-result, that, as his genius was wholly interpretative, his pictures
-stand rather less for his sitters than for their time.
-
-A weak man might have succumbed to the temptations that beset Reynolds
-when he had established himself in Leicester Square. He was in a sense
-the darling of society, earning a larger income than had been gained by
-any of his contemporaries, although he painted for prices that a
-third-rate man could gain to-day, if we do not regard the changed value
-of money. But Reynolds never succumbed to society; he conquered it,
-showing himself worthy of all the success that came to him. He did his
-best, he worked hard, relaxing his efforts only when his position was
-unassailable, took his enjoyment temperately, if we consider the age in
-which he lived, and never forgot that his chief aim and object in life
-was to paint portraits, and to paint them as well as he could. There
-were years in which he completed from three to four portraits every
-week, but by the time he was President of the Royal Academy, the output
-had fallen to sixty or seventy a year, no small achievement for a man
-who was at liberty to enjoy all that was best, and brightest, and most
-enduring in London society, and everything most attractive in the
-country.
-
-The life and times of Sir Joshua have a special interest for British
-artists, even apart from his work, because he lived through the years of
-storm and strife that saw the development of the R.A. It is not easy to
-tell in full the story of its establishment without long and detailed
-references to the quarrels and intrigues of the artists of the day and
-even then it is not easy to see the truth clearly through the mists of
-controversy. None of Sir Joshua's biographies goes uncontradicted, and
-it is safe to say that we must be content to forego for all time exact
-knowledge of certain incidents in the life of Reynolds. He had
-considerable reserve, a fair sense of diplomacy, and was not without
-knowledge that there were foes as well as friends in the crowd that
-surrounded him. His contemporaries were often baffled by his silence,
-and the secrets of his tastes and intimate likes and dislikes died with
-him. He had friends, but no confidantes. A brief outline of the creation
-of the R.A. is all that needs be given here.
-
-[Illustration: PLATE IV.--THE AGE OF INNOCENCE.
-
-(In the National Gallery)
-
-This picture was bought at the sale of Mr. Harman's pictures. It has
-been engraved two or three times and is one of the most popular examples
-of the master's work.]
-
-In the year 1760, when Reynolds was approaching the zenith of his fame,
-an art exhibition was held in London, attracted a great deal of
-attention, and became an annual institution. Thereafter, we begin to
-hear of the Society of Artists, which received from George III. a
-certificate of Incorporation in 1765, blossomed out with the
-grandiloquent title of the "Incorporated Society of Artists of Great
-Britain," and published a list of two hundred and eleven members,
-including Joshua Reynolds. An offshoot from this society was known as
-the Free Society of Artists; in the history of art there have always
-been some men "agin the government." Heart-burning and jealousy were
-associated with the work of the Incorporated Society, and William
-Chambers the architect, who had the king's ear, brought about the
-foundation of the R.A. Reynolds took no visible part in the intrigue, in
-fact he was abroad during the months when the squabbles were most
-violent, and when the Presidency was offered to him, he asked for time
-to discuss the matter with Dr. Johnson and Edmund Burke. Apparently he
-had studied Shakspere's "Julius Caesar." In December 1768, the
-constitution of the Royal Academy was signed by the King, and the
-Incorporated Society was left to linger for a few years in the cold
-shades of opposition and then depart from a world that had no further
-use for it. William Chambers and Benjamin West seem to have done all
-that was necessary to bring King George on to the side of the new
-venture, which had a very wide constitution, and thirty-six original
-members, including two ladies, Angelica Kaufmann and Mary Moser. William
-Chambers became Treasurer, Dalton was appointed Antiquary, Goldsmith was
-Professor of Ancient History, and Dr. Johnson stood for Ancient
-Literature. Curiously enough, it was the foundation by Captain Coram of
-the Foundling Hospital that led indirectly to the creation of the Royal
-Academy. Hogarth, who was a great friend of Coram, gave pictures for the
-gallery in the Hospital, Reynolds' old master, Hudson, Reynolds
-himself, and Wilson, a contemporary painter of great achievement, did
-the same. Mr. Claude Phillips, whose life of Sir Joshua Reynolds is one
-of the best written and most discerning tributes to the master extant,
-thinks that the success of the gallery at the Foundlings led to the
-opening of the first exhibition of pictures by living masters in 1860.
-The Society of Arts was then six years old, and the Society of Artists
-was established in friendly rivalry. We have remarked that at the time
-when the Incorporated Society of Artists was engaged in the final
-quarrel that led to the foundation of the Academy, Sir Joshua was
-travelling abroad with Richard Burke. His absence from the scene of
-strife is more likely to have been diplomatic than unintentional.
-
-
-
-
-II
-
-
-We have now come down to the year 1769, and may pause with advantage to
-recall some of Sir Joshua's achievements and experiences that have been
-omitted from a rather hurried survey. He has already painted many of the
-most famous men and women of his time, and his contributions to the
-exhibitions of the Society of Artists have been the admiration of all
-who take an interest in pictures. Here some of his most famous pictures
-have been hung, the "Lady Elizabeth Keppel as a bridesmaid," the
-"Countess Waldegrave," "Garrick between Tragedy and Comedy" (now in Lord
-Rothschild's town house) and many others too numerous to be mentioned in
-such a brief review as this.
-
-[Illustration: PLATE V.--LORD HEATHFIELD. (In the National Gallery)
-
-This work which is held by good judges to be one of the most
-characteristic portraits painted by Sir Joshua Reynolds was commissioned
-by Alderman Boydell in 1787. In the background there is a view of the
-Rock of Gibraltar much obscured by smoke, for the picture commemorates
-the defence of the Rock from 1779 to 1783 by Lord Heathfield, then
-General Eliott. The gallant soldier holds the key of the fortress in his
-hand. The picture was purchased by the Government for the National
-Gallery in 1824.]
-
-He has made another pleasant journey into Devonshire, this time in
-company with Dr. Johnson, whose consumption of cider and cream has
-created a mild sensation. He has visited Wilton and Longford, where some
-of his works may be seen to-day; he has enlarged his circle of friends,
-while his acquaintances are as the sands upon the seashore for
-multitude. He belongs to the once famous Dilettanti Society, founded in
-1732 to study antiquities and arts; he has painted his own portrait to
-celebrate his election, and presented it to the Society. It may be seen
-in the Grafton Gallery to-day, together with two groups of members
-painted at a later date.
-
-His drawing has become strong, his modelling firm, and his colour has
-many of the qualities that distinguished the Venetian masters he loved
-so well, but, alas, he has not learned the secrets of permanent
-colouring, and some of his most brilliant glazes are beginning to fade
-before the eyes of the troubled owners of the pictures. He has
-surrendered to the pseudo-classicism of his age, and some of his
-compositions are absurdly indebted to mythology; but the fault was a
-virtue then, and while we complain it is only right to refer the
-grievance to the time rather than to the man, and a study of Boswell
-explains the painter's attitude, even though it cannot justify it.
-
-He has found time to enjoy the pursuits of a country gentleman; he
-shoots and hunts in the best sporting circles. His home in Leicester
-Square is open to all sorts and conditions of men; the leading lights of
-the day--Gainsborough and Romney excepted--are welcome. He keeps a
-liberal but ill-served table, and his friends will find a welcome if
-they call in time for dinner at five o'clock, even if they must
-scramble for a fair share of the meal. He has lost the raw manners of
-early years, _faux pas_ are few and far between. From Johnson he has
-acquired a certain literary style, rather heavy and turgid, perhaps, but
-precise and final. It is possible, but not certain, that "The Club" has
-been established, and that the twelve original members are meeting for
-supper at the sign of the Turk's Head in Gerrard Street. He has pupils,
-for whom he does little or nothing, and assistants who paint draperies
-for him, and receive a little useful instruction now and again.
-Northcote, who is to publish his "Memoirs of Sir Joshua Reynolds" nearly
-half a century later, and become the one successful painter from the
-Leicester Square establishment, has met the great man in Devonshire with
-emotions similar to those that Reynolds felt in the far away days when,
-an unknown pupil of Hudson, he saw the great and distinguished author of
-"The Rape of the Lock" in the centre of an admiring and respectful
-crowd.
-
-Who shall do justice to the crowds that thronged the studio? Certainly
-mere words cannot picture the scenes that the old house in Leicester
-Square witnessed in those stirring times. Deafness could hardly have
-been an unmixed evil to a man whose sitters were of the most diverse
-kind. Leslie and Taylor in their voluminous work, "The Life and Times of
-Sir Joshua Reynolds," have written at length upon this aspect of the
-painter's daily life, and have described the constant stream of men and
-women who could not have been placed side by side for five minutes save
-on the walls of the exhibition. Representatives of the most opposed
-school of politics, High Church dignitaries, courtesans, soldiers,
-flaneurs, society women, sailors, ambassadors, actors, children, members
-of the Royal Family, men from the street, like White the paviour--one
-and all claimed the measure of immortality that his brush confers, and
-if his best work could but have retained its qualities, the latter half
-of the eighteenth century would be preserved for us in fashion
-calculated to make future generations envious. Unfortunately, Sir Walter
-Armstrong, the painter's most trenchant latter day critic, is justified
-when he writes: "Speaking roughly, Sir Joshua's early pictures darken,
-the works of his middle period fade, those of his late maturity crack.
-The productions of his first youth and of his old age stand best of
-all." When the worst has been said, it is a glorious heritage that the
-painter left to his country, but who can avoid regrets when thinking
-what it might have been if Reynolds had mastered the secrets of
-permanent colour, if the carmine and lake had endured, and the more
-brilliant effects had not been so largely experimental--if he had given
-them a fair trial in studies before he used them for his best work?
-Perhaps his success left no time for experiments. Sitters were urgent
-and could not wait while the painter studied the question of the
-chemistry of pigments.
-
-There is a curiously sane and optimistic note about all the Reynolds
-portraits. Even where he does not succeed--in painting portrait groups,
-for example--the fault is merely one of composition, he keeps to his
-earliest intention of expressing what is best in the sitter, and seeing
-him "with dilated eye"; he is merely unable to set several figures upon
-the same canvas. Save for ever increasing deafness and a little trouble
-with sister Frances, who keeps house for him and is not cast in the same
-placid mould, nothing occurs to disturb the even tenor of his happy
-life. Intellect rules emotions--either he has no feeling for intrigue or
-he can keep his emotions beyond the reach of prying eyes. Even his
-relations with Angelica Kaufmann, now in her twenty-eighth year, and an
-original member of the Royal Academy, baffle the censors who would fain
-discover that she was the painter's mistress. "His heart has grown
-callous by contact with women," says one of his contemporaries or
-biographers, and this may well be so. Angelica Kaufmann was one of the
-women who attract men, and there is no evidence to show that Reynolds
-was more than a good friend to her. Long years later, when the visits to
-Leicester Square could have been no more than a memory, she attracted
-Goethe, who used to read to her some of his unpublished work. The
-painter's self-control has made some of his biographers angry; they
-write as though fearful lest, on account of his virtue, there shall be
-no more cakes and ale, and ginger shall no longer be hot in the mouth.
-If they could but catch him tripping, he might return to the highest
-place in their affections, and all would be forgiven. There is something
-so human in this attitude that it becomes almost tolerable, though it is
-hard to avoid a smile when one finds that the subject of the relations
-between Sir Joshua and Miss Kaufmann have been discussed quite seriously
-by foreign writers. If Sir Joshua could have made the lady a better
-artist, if it can be shown that he saved her from being a worse one than
-she was, there is something to write about; the subject of their
-personal relations cannot possibly concern the world at large, and is
-not worth a tithe of the ink that has been spilt in attack or defence.
-
-[Illustration: PLATE VI.--PORTRAIT OF TWO GENTLEMEN. (In the National
-Gallery)
-
-This picture was painted in 1778 and presented to the National Gallery
-in 1866 by Mrs. Plenge. The gentleman on the right examining the prints
-and holding a violin in his right hand is one J. C. W. Bampfylde, the
-one on the left is the Rev. George Huddersford who was for some years a
-painter and a pupil of Sir Joshua.]
-
-
-
-
-III
-
-
-We owe an apology to the new President whom we left standing upon the
-threshold of the Royal Academy, which opened its doors with a first
-exhibition of one hundred and thirty-six pictures! The memory of this
-commendable modesty should not be allowed to fade in these days when
-canvas stretches by the acre over the long-suffering walls of Burlington
-House, when artists appear not singly but in battalions and the cry is
-"still they come." In April 1769 Reynolds received the honour of
-knighthood and this seems to have put the finishing touches to his
-social claims. Henceforward he painted fewer portraits; the records of
-1771 credit him with a mere seventy, and though this figure may make
-modern men gasp, it compares but feebly with the one hundred and
-eighty-four that stood to the credit of an earlier year. The President
-increased the number of his clubs, enlarged his dining circle, became
-more and more dignified, mellow, gracious, and urbane, farther removed
-than before from the turmoil that was going on in art circles of the
-less successful men around him. Having all the cream he required, he was
-not concerned with quarrels about skimmed milk. Some of his biographers
-think that Romney was beginning to compete with the master, and that
-this competition accounts for the diminishing number of his sitters, but
-it is reasonable to suppose that a man who can make his own prices and
-is beyond the reach of want may regard seventy portraits as a very
-satisfactory output for one year, when he has other duties to fulfil and
-is by temperament a lover of the world's good things. Fortune could have
-given him nothing more, unless the hearing that passed in the old days
-of the pilgrimage to Rome had been restored, and if such a miracle could
-have been vouchsafed, the painter's splendid indifference to matters
-that annoy quick, nervous temperaments might have passed, and the latter
-days might have been clouded. If wisdom at one entrance was nearly shut
-out, there was plenty left, as may be gathered from a study of the
-Discourses. Their vitality is proved by the fact that new editions are
-still called for, and many members of the more modern schools of
-painting declare that Reynolds saw some aspects of painting with
-twentieth-century eyes.
-
-In 1773 Plympton remembered its famous artist and elected him mayor, an
-honour that touched him nearly. One cannot help thinking that it was
-more to him even than the degree of Doctor of Civil Law, conferred in
-the same year by Oxford University _de honoris causa_, though this too
-helped him to paint his own portrait in flamboyant style, and the artist
-loved colour. One portrait of himself was sent to the town of Plympton
-and hung between two pictures that were "old masters" according to the
-leading lights of the Corporation. In truth, they were two of Sir
-Joshua's own early works, and from this simple story we may learn that
-artists come and artists go, but the mental calibre of corporations is
-constant and not subject to change. He sent another picture of himself
-to the Uffizzi Gallery in Florence, where so many Masters stand
-self-committed to canvas in pictures that do not err upon the side of
-making the sitters lack distinction.
-
-The next eight years were uneventful, save for the fact that the
-President was doing some of his best work and enjoying life in the
-fullest and most complete fashion imaginable. Nearly all who knew him
-loved him, and to the great majority of men and women he was just and
-kind. For a man so completely free from emotion and self-revelation,
-Reynolds claimed a very large circle of intimates, and it was hardly an
-age of introspection. Men confessed themselves to their Maker but not to
-their friends; the formalities of life and speech presented an effective
-barrier to the emotions, even the stage was as artificial and pompous as
-it could be. One may perhaps acknowledge an uneasy feeling that David
-Garrick himself would make a very small impression upon a latter-day
-audience, if he confronted it with the mid-eighteenth-century style of
-speech and action.
-
-In 1780 the Academy Exhibition was transferred from Pall Mall to
-Somerset House, where it was destined to remain until 1838, the year of
-its removal to the National Gallery, where it stayed thirty-one years on
-the way to Burlington House. Among the portraits painted by the
-President in that year was one of General Oglethorpe, who, according to
-the "Table Talk" of Samuel Rogers (quoted by Sir Walter Armstrong),
-could tell of the days when he had shot snipe in Conduit Street. In the
-following year Reynolds painted the wonderful picture of the Ladies
-Horatia, Laura, and Maria Waldegrave, one of the few groups whose
-arrangement is beyond cavil. Few will look in vain to that picture for
-any of the finest qualities of Sir Joshua's art. He had very little to
-learn, though in the summer and autumn of 1781 he visited the Low
-Countries, staying in Bruges, Brussels, The Hague, Amsterdam, and other
-cities, and showing himself strangely indifferent to the pictures of
-Franz Hals, though these might have been presumed to appeal to any
-portrait painter. His records and impressions of the journey were set
-down most carefully, and are preserved; they show that success had not
-impaired discernment, and that the painter was responsive to most of the
-thoughts that stir educated visitors to the Dutch galleries to-day.
-
-In 1782, the year in which Romney painted his first picture of Mistress
-Hart, afterwards Lady Emma Hamilton, Reynolds sat to his great rival
-Gainsborough, now at the height of his fame and in the last years of his
-life; the two men disliked each other, and the picture was never
-completed. Some say that Reynolds made a hasty remark about his fixed
-determination not to paint Gainsborough's portrait in return, and some
-mischief-maker carried the words to Gainsborough. Others think that the
-touch of palsy or slight attack of paralysis that came to Sir Joshua
-about the time of the sitting, brought it to a close. There must be more
-than this underlying the true story of the affair, for though a visit to
-Brighton and to Bath restored the President's health, the sittings were
-not resumed, even when Reynolds wrote to say he was ready to sit again.
-In 1783 Sir Joshua sent ten portraits to the Academy, while
-Gainsborough, exhibiting there for the last time, sent twenty-five
-pictures, including the famous panels of George III., and his
-children, now in Windsor. But Reynolds added to his fame in this year,
-for he painted the portrait of Mrs. Siddons as the Tragic Muse. Then he
-paid another visit to the Low Countries, to find with regret that
-Rubens' appeal was failing.
-
-[Illustration: PLATE VII.--PORTRAIT OF LADY AND CHILD. (In the National
-Gallery)
-
-This portrait was purchased in 1871 with the Peel collection and is said
-to represent the Hon. Mrs. Musters and her son. The composition does not
-show Sir Joshua at his best, and the painting is perhaps rather thin.
-The identity is not very clearly established, although the names of Mr.
-and Mrs. Musters are to be found in Sir Joshua's account books.]
-
-In the following year, 1784, Sir Joshua sent sixteen pictures to the
-Academy, including the famous Mrs. Siddons, Charles James Fox, and Mrs.
-Abingdon as Roxalana. Gainsborough had quarrelled with the R.A. and
-exhibited no more, though he lived until 1788. With December, Dr.
-Johnson's strenuous and useful life came to an end; he passed away
-exhorting his old friend never to paint on Sunday, and to read the
-Bible. Reynolds has left a very interesting study of the Doctor's
-character. In the following year, the President went for the third time
-to the Low Countries, and bought a number of pictures; he also received
-the honour of a commission from Catherine, Empress of Russia, and
-painted the beautiful picture of the Duchess of Devonshire and her baby
-that hangs at Chatsworth to-day. Walpole said, "it is little like, and
-not good," but posterity has declined to accept the verdict. Sir Walter
-Armstrong considers that it ranks with the "Lady Crosbie" and "Nelly
-O'Brien" as the "most entirely successful creations" of the artist.
-In '87 the President sent thirteen pictures to the Academy, including
-the "Angel's Heads" now in the National Gallery. They are studies of
-Frances Isabella Gordon, daughter of Lord William Gordon, and the
-picture was given to the Gallery in 1841. A year later, London saw the
-picture that the Empress Catherine had commissioned, the subject is
-"The Infant Hercules" and the canvas hangs in the Hermitage Gallery at
-St. Petersburg. It is one of the artist's failures, and he received
-fifteen hundred guineas for it. This is the date of the famous
-Marlborough family group that is to be seen at Blenheim.
-
-A year later, when the President sent some dozen pictures to the R.A.,
-his activity came to a sudden end. Some forty years and more had passed
-since he painted the first of his works that concerns us, and he had not
-known an idle season. His record would have brought honour to any three
-men; he had lived as a philosopher should, grateful for the gifts of the
-gods, and not abusing any. Suddenly, in mid-July of 1789, about the time
-of the fall of the Bastille, one eye failed him as he worked at his
-easel; he laid his brush aside. "All things have an end--I have come to
-mine," he remarked, with the quiet courage that never deserted him, and
-he spent what remained to him of life making gradual preparation for the
-last day, sustained by memories of the past through hours that were not
-always free from pain and distress. Save for a quarrel with the Academy,
-arising out of the contest for membership between Bonomi and Fuseli,
-there was nothing to disturb the closing years of the old painter's
-public life, and even in this quarrel, he was the victor. The General
-Assembly apologised, and Reynolds withdrew his resignation, though
-Chambers, now Sir William, was obliged to act for him at Somerset House.
-In December of 1790 Reynolds delivered his final address to the
-students, the name of Michelangelo being last upon his lips. Little more
-than a year before he died, the President sat to the Swedish artist von
-Breda, for a picture now in the Stockholm Academy. West did his
-presidential work for him in the last months of his life.
-
-Many friends testify to the tranquillity of these last days, though
-failing sight and the deprivation of the liberal diet to which he was
-accustomed had lowered the spirits that were once bright as well as
-serene. Perhaps modern medical science would have availed to lengthen
-his life, and make the last few years more worth living; but in the
-eighteenth century one needed a very sturdy constitution to endure the
-combined attack of a disease and a doctor. Sir Joshua was in his
-sixty-ninth year--he had lived in the fullest sense all the time--and
-when one evening in February 1792 Death came to the House in Leicester
-Square, his visit was quite expected, and was met with a tranquil mind.
-The body lay in state awhile in the Royal Academy, and was then taken to
-St. Paul's Cathedral, and laid by the side of Sir Christopher Wren.
-To-day we look at the artist's work with a critical eye--he can no
-longer thrive by comparison with contemporaries, but must compete with
-all dead masters of portraiture; and it will be admitted on every side
-that he holds his own, that before every throne of judgment his best
-works will plead for him and vindicate the admiration of his countrymen.
-
-It is not the least of his claims to high consideration that his art
-moved steadily forward, that the last work was the best.
-
-
-
-
-IV
-
-
-Naturally it is impossible within the limits of a small and
-unpretentious monograph to give an adequate idea of the range and
-variety of the labours that occupied Sir Joshua Reynolds for half a
-century or more, and no attempt will be made in this place to do more
-than indicate the forces that seem to have directed his brush, the
-masters whose labour inspired it. It has been pointed out in these pages
-that Reynolds was a great assimilator. He took from everybody, but he
-was always judicious, because, quite apart from his executive faculties,
-he had a critical gift of the first order. One has but to turn to his
-diaries to realise that his instinct was singularly sound. He could
-stand before an admitted masterpiece and enjoy all its beauties, without
-losing sight of any defect however small, and because his mind was
-beautifully balanced, the small points of objection did not spoil his
-appreciation of the whole work. They simply taught him what he should
-avoid. In the very early days of his career, before he had left
-Devonshire, he made the acquaintance of one Gandy, an artist of some
-small repute, whose father, also a painter, had studied Van Dyck, and
-had taught his son to appreciate the fine qualities of Rembrandt. The
-younger Gandy afforded Reynolds his first glimpse of the world lying
-beyond the reach of the rank and file of British students, gave him his
-earliest appreciation of Rembrandt, and taught him to look for that
-master's work when he visited Rome. As soon as Reynolds reached Italy,
-he examined the great masters with a critical eye, and set himself to
-copy Titian, Rubens, Rembrandt, Guido, Raphael, and many others. He soon
-saw that each of these masters had achieved supreme success in some
-department of their life's work, and he had the idea of uniting all the
-excellences that he saw around him, and leaving the defects alone.
-He sought for the colour of Rubens and Titian the drawing of Raphael,
-the splendour of design of Michelangelo, and the chiaroscuro of
-Rembrandt. Naturally this must sound ambitious enough; but we should
-remember that Reynolds was far from standing alone in his ambitions.
-Mengs, who did so much to proclaim the merits of Velazquez and achieved
-a great but temporary success as a painter in Madrid before Goya's
-wonderful gifts threw him into well-merited obscurity, had the same
-ideals, but whereas the best of his accomplishments were but dull and
-short-lived, Reynolds was able to force some way through all the gifts
-with which he sought to surround himself and to reach a style of his
-own. The journey lasted very many years, and the road is strewn with
-failures, chiefly due to an inability to grasp the secret of a durable
-glaze and, like many men who came before and after him, the painter had
-to part company with some at least of his ambitions. Had his own
-capacity for self-criticism been less, had he allowed his feeling for
-fine colour to prevail over the sound judgment that bade him look for
-other and more enduring excellencies, he would not occupy the place he
-holds to-day, while on the other hand, if a Titian or a Rubens had been
-able to give him the secret of manipulating pigments, he would have
-stood side by side with the greatest masters of all time.
-
-[Illustration: PLATE VIII.--DUCHESS OF DEVONSHIRE AND CHILD. (Chatsworth
-House, Derbyshire)
-
-This picture, to which reference has been made in the text, hangs at
-Chatsworth, and has been reproduced by permission of His Grace the Duke
-of Devonshire. Although Walpole sneered at it when he saw it for the
-first time, the composition stands to-day among the most admired of the
-master's works.]
-
-Artists tell us that painting should be no more than a harmony of colour
-and line, that it should not attempt to cross the borderline that
-separates painting from literature. They are justified in their
-attitude, but at the same time we cannot discuss painters in terms of
-paint, or tell of our admiration of their work by expressing that
-admiration on canvas. Those of us who are not painters, can only
-approach art through literature, and seek to find in a man the
-explanation of his works, and in the works, the revelation of the man.
-
-Joshua Reynolds possessed a master mind. He had wonderful capacity for
-synthesis and analysis, and something akin to the skilled physician's
-gift of diagnosis. As soon as he had built up the foundations of his own
-art and found a new method of presentation, he turned all his mental
-capacity to the study of the people who sat for him. As soon as he had
-achieved technique, the other gifts that no technique could develop came
-into play, and then his work revealed its extraordinary qualities, side
-by side with the few limitations that beset his mode of life. In
-society, Reynolds would seem to have been courtly and reserved. He did
-not expand to women as he did to men, for he looked upon women and
-children as subjects for classical treatment. He made them extremely
-beautiful; he gave them graces and gifts that flatter the imagination of
-those who gaze upon his pictures to-day: but there are not too many
-portraits of women among those painted by Reynolds in which there is a
-large quality of humanity. He suppresses a great part of the human
-interest that may have been in them, and replaces it with beauty of
-colour and line. Now and again, of course, he is very fortunate. When he
-painted the great courtesans of his day, Polly Fisher, Nelly O'Brien,
-and others of that frail sisterhood, the qualities he omitted left the
-sitters quite human. There was no suggestion of the classic about them.
-A Nelly O'Brien at her best is just a woman, while some of the
-high-born ladies at their best became a little too cold, a little too
-stately, a little too well-posed for the wicked world they lived in.
-Even when we consider the famous "Jumping Baby" that hangs at
-Chatsworth, it is impossible to avoid the thought that if the little one
-had really been so happy and so playful, the mother's fine feathers must
-have been considerably ruffled, and she must have made haste to give the
-child back to the nurse.
-
-His children, too, are seldom of this world. Reynolds was a hardened old
-bachelor with an eye for beauty. He had not studied Bellini and
-Correggio for nothing, and many of his little ones are far more like
-Italian angels in modern dress than English boys and girls. Of course
-there are notable exceptions. "Master Crewe as Henry the Eighth" is
-delightfully English. "The Strawberry Girl" is another picture painted
-in hours of delightful inspiration, but "The Age of Innocence," for all
-its supreme beauty, has a certain quality of conception that is
-artificial. To look at Reynolds' women and children is to feel assured
-that the painter lived a celibate life, and that the stories about
-intrigues with Angelica Kaufmann and others are misleading and
-unfounded. We have but to turn to the work of his great contemporaries,
-Gainsborough and Romney, to see the difference between women in whose
-veins the blood runs red, and women who feed on nectar and ambrosia and
-were never seen at a disadvantage in their lives. It seems to the writer
-that women and children were to Reynolds fit and proper subjects for the
-exercise of his gifts, but at the same time, folk in whom he had no
-abiding interest. Men interested him, and when he turned the best of his
-attention to them, he gave the world work that will endure just as long
-as the pigments he put down upon the canvas.
-
-The picture of Admiral Keppel, hanging to-day in the National Portrait
-Gallery, was the first ripe fruit of the painter's Italian journey, and
-had produced in the world of art something akin to a sensation.
-Thereafter Reynolds stood alone as the representative eighteenth-century
-painter of great men. His rivals could not approach him there. He seemed
-to see right into the heart and brain of the men who sat for him, to
-realise clearly and judiciously the part they were playing in life, and
-he strove to set it down in such a fashion that the character and
-capacities of the sitter should impress themselves at once upon those
-who saw the portrait. Other painters might give one aspect of a man,
-but Reynolds' vision was far larger--it was completely comprehensive;
-when he had dealt with a subject, it was well-nigh impossible to
-approach it again, save in the way of imitation. There was a finality
-about the treatment that must have baffled and exasperated his rivals.
-The portraits of Charles James Fox, David Garrick, Laurence Sterne, to
-name a few, are masterly in their simplicity, in the directness of their
-appeal, and in the splendid expression of character through features. To
-satisfy the claims of Reynolds' brush it was absolutely necessary that
-his sitters should have character, even if it was a bad one. That is why
-the portraits of courtesans arouse attention in fashion that women whose
-characters were undeveloped either for good or for evil will never
-succeed in doing.
-
-It is not always easy to realise what Reynolds' work was like at its
-best, because so many of his canvases have either lost their original
-tints or have suffered the final indignity of restoration. In his search
-after the secret of the Venetians he made many elaborate experiments at
-the expense of his sitters, and pictures that were remarkable in their
-year for colour that aroused the enthusiasm of connoisseurs grew old
-even sooner than the sitters. His solid foundations decomposed, the
-surface colour of many a celebrity is now as pale as the sitter's own
-ghost may be supposed to be. Here there is perhaps some excuse for
-looking at Reynolds' work from the literary standpoint, because though
-the harmony of line may remain, the harmony of colour has gone beyond
-recall, and there are some at least of Reynolds' pictures in which the
-colour, had it been preserved, would have been the most effective
-quality. At times the great artist's draughtsmanship was far removed
-from excellence. And yet when criticism has said its last word, the name
-and fame of Sir Joshua Reynolds will remain the pride of British art and
-the admiration of the civilised world.
-
-
-The plates are printed by BEMROSE DALZIEL, LTD., Watford
-
-The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
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