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Joshua Reynolds, in full Sir Joshua Reynolds was a portrait painter. Aiming to establish an ideal
associated with national reality in art, Reynolds merged the features of ‘secular ceremonial
characteristics of the aristocratic portrait of monumentality and the accuracy of psychological
characteristics into a single entity. The painter Joshua Reynolds created a selection of portraits of his
contemporaries, in most cases representatives of the upper classes of society.

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Reynolds attended the Plympton grammar school of which his father, a clergyman, was master. The
young Reynolds became well read in the writings of classical antiquity and throughout his life was to be
much interested in literature. Reynold's father had noted his son's talents and was fond of the arts as
well.

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Showing his father his sketches and drawings of the buildings, Joshua was encouraged by his reactions
and began drawing and sketching numerous family members and acquaintances. Reynolds then came
into the readings of 'Richardson's Theory of Painting,' where he learned the vigor of painting and the
teachings of Raphael and the Great Masters. It was through this text that Reynolds' inclination for
painting was ignited and his admiration for Raphael in particular was to become one of his biggest
influences.

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At the age of 20, Reynolds made an effort to establish his own practice in London. From there he
travelled to the Mediterranean and spent several years studying the works of Italian masters such as
Michelangelo and classical Roman art and drawing inspiration from their masterpieces.

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Reynolds specialized in historical works denoting the modern-day gentry as Classical subjects. This new
approach of depicting the elite subjects as Gods and Goddesses of mythical origin proved to be
beneficial for Reynolds. He became very popular. It was most important to get the mixture on the
palette as close to the sitter's real complexion as possible. It was one of the first things Reynolds did
concerning the color scheme after the initial sketch. Reynolds felt that mixing the colors would affect the
natural blending so he preferred to layer the colors while still fresh and wet. By layering the wet, soluble
colors, the paints were allowed to have a fresh, clean appearance. Reynolds ensured that the
positioning of the core lighting was always upon the main figure and his background landscapes were
also accentuated.

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Reynolds settled in London in 1753 and established his reputation as the foremost portrait painter with
Captain the Honorable Augustus огастас Keppel, the first of a long series of portraits ennobled by a
borrowed pose, here taken from the Apollo Belvedere. He used borrowed attitudes in two ways: as a
mode of elevation and as a way of wit. This is one of those full-length portraits (now Greenwich
Maritime Museum) that put him at the head of English painters.
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Among the portraits most characteristic of the 1750s are those of Lord Cathcart and the Duke of Grafton
(Oxford, Ashmolean Museum). All of them are executed in the Venetian manner. Later, Reynolds was
influenced by the elegant manner of Ramsay, who returned from Italy in 1757, and created a series of
tender and delicate portraits, mostly of women, among which the portrait of Georgiana, Countess
Spencer, with her daughter.

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Reynolds exhibited regularly at the Society of Artists, and he was named the first president of the Royal
Academy of Arts in 1768. As his eminence grew, in 1784 he was appointed principal royal portrait
painter. As the foundation president of the Royal Academy, Reynolds guided its destinies in his
momentous first phase, devoting his immense influence to his lifetime dream of forming a national
school of history painters choosing their glorified themes not only from the Bible and classical antiquity
but also from Shakespeare and the national past. Sir Joshua Reynolds died on February 23, 1792, and
was buried in St. Paul's Cathedral.

Вопросы.

1. Which school did Reynolds attend? Reynolds attended the Plympton grammar school
2. Was Reynolds encouraged by his father or he was against the idea of painting? Joshua was
encouraged by reactions of his father and always supported his son in this area.
3. In which book Reynolds learned the teachings of Raphael and the Great Masters? 'Richardson's
Theory of Painting
4. Who did become one of his biggest influences of Reynolds? Raphael in particular was one of his
biggest influences.
5. Which approach did become beneficial for Reynolds? The approach of depicting the elite
subjects as Gods and Goddesses of mythical origin proved to be beneficial for Reynolds.
6. Was it important to get the mixture on the palette as close to the sitter's real complexion? Yes,
it was significant.
7. How did he prefer layer the colours? He preferred to layer the colors while still fresh and wet.
8. From which masterpiece did Reynolds take the pose for the painting Captain the Honorable
Augustus огастас Keppel? It was taken from Apollo Belvedere.
9. What title was assigned to Reynolds? He was named the first president of the Royal Academy of
Arts
10. Where was Reynolds buried? He was buried in St. Paul's Cathedral.