Joshua Reynolds
Sir Joshua Reynolds (1723–1792), leading English portrait painter of the 18th century, first president of the Royal Academy. Discover his life, artistic philosophy, “Grand Style,” and enduring influence on British art.
Introduction
Sir Joshua Reynolds stands as a central figure in British art history. In a time when painting in England was often seen as a craft rather than a liberal art, Reynolds elevated portraiture to a higher intellectual status. He advocated for a “Grand Style” of painting—drawing on classical ideals, the Old Masters, and literature to imbue portraiture with grandeur and dignity. Over his long career, he produced a vast number of portraits of the elite, and as the first President of the Royal Academy, he shaped the institutional and theoretical foundations of British art.
Early Life and Family
Joshua Reynolds was born on 16 July 1723 in Plympton, Devon, England.
He had at least two sisters, Frances and Mary (Mary later wrote Devonshire Dialogue). Mary Palmer (his sister) played a part in supporting his early career—she helped finance his apprenticeship and travels.
From an early age, Reynolds was self-educated in literature, philosophy, and classical texts. He collected quotations and excerpts from authors like Seneca, Virgil, Ovid, Milton, and more, which later informed his aesthetic judgments and lectures.
Youth and Education
In 1740, Reynolds was apprenticed to the portraitist Thomas Hudson, a prominent London painter, for four years. This apprenticeship exposed him to portrait technique, the use of drapery, and the circulation of prints and old master drawings.
However, Reynolds did not stay the full term; he left Hudson in 1743 and returned to the West Country, painting in Plymouth Dock (now Devonport).
In 1749, Reynolds embarked on a formative journey with Commodore Augustus Keppel aboard HMS Centurion, traveling to Lisbon, Cádiz, Algiers, and Minorca, before arriving in Italy.
During his Italian period he also contracted a respiratory ailment that damaged his hearing; later in life he was partially deaf and often carried a small ear-trumpet.
Career and Achievements
Establishing as a Portraitist
After his return to England, Reynolds settled in London and began attracting high society sitters. He quickly came to be patronized by aristocrats and public figures.
Reynolds’ style incorporated the “Grand Manner” (or “Grand Style”) in portraiture—an approach that idealized features, used expressive brushwork, and inserted references to history, allegory, or literature to elevate the subject beyond mere likeness.
In the late 1750s, at the height of his demand, Reynolds is said to have painted five to six sitters per day.
Institutional Leadership & The Royal Academy
One of Reynolds’ most enduring legacies is his role in founding the Royal Academy of Arts in 1768. He became its first President, a position he held until his death.
In 1769, he was knighted by King George III, becoming Sir Joshua Reynolds.
He delivered a series of “Discourses” at the Academy between 1769 and 1790—lectures on theory, aesthetics, and practice of painting. These discourses significantly influenced British art theory and were published posthumously.
Later Years and Decline
In his later years, Reynolds’ health declined. He lost sight in one eye and suffered other ailments, which limited his capacity to paint at full vigor.
He died on 23 February 1792 at his home in Leicester Fields, London. St Paul’s Cathedral.
Style, Innovations & Signature Elements
Idealization & the Grand Manner
Reynolds believed that art should not merely copy nature slavishly, but idealize it—correcting and enhancing beauty in the service of nobility. His portraits often balance fidelity with poetic elevation.
In his Discourses, he asserted that “invention … is little more than a new combination of those images which have been previously gathered and deposited in memory.” This expresses his belief in combining classical and learned references with direct observation.
Borrowing & Adaptation
Reynolds frequently adapted poses, gestures, or compositional devices from Old Master paintings—sometimes openly, sometimes subtly—and translated them into portraiture. Some critics accused him of plagiarism or derivative use, but his defenders saw this as homage and reinvention.
He also used assistants for elements like drapery, costumes, and background detail, allowing him to focus on the essential artistic parts.
Psychological Presence & Expression
While many of his sitters are nobility or figures of status, Reynolds tried to capture something of their character—through expression, posture, and atmosphere. In works of children, he emphasized innocence and natural grace (for example The Age of Innocence).
His portraits often include symbolic or allegorical motifs or settings—columns, draperies, classical references—that add gravitas and narrative overtones.
Notable Works
Here are several representative works attributed to Reynolds:
-
Portrait of Omai (c. 1776) — one of his most celebrated and exotic portraits, of a Polynesian visitor to London.
-
The Marlborough Family (c. 1778) — a grand, multi-figure composition.
-
Sarah Siddons as the Tragic Muse (1789) — an iconic portrait of the famed actress.
-
The Age of Innocence (c. 1788) — a portrait of a child that captures purity and charm.
-
Portrait of Augustus Keppel (1753) — an early success, often cited for how it balanced power and elegance.
Legacy and Influence
Sir Joshua Reynolds transformed British painting in two major ways: through his prolific oeuvre of portraits, and through his institutional, theoretical, and social roles.
-
He helped elevate British art’s prestige—adding intellectual and moral ambitions to portraiture, aligning it with the classical tradition.
-
As the President of the Royal Academy, his Discourses influenced generations of British painters, shaping standards of taste and pedagogy.
-
His method of adapting classical models and blending inspirations prefigured later neoclassical and romantic artists.
-
His approach to portraiture—combining idealization with psychological presence—remains a benchmark in the genre.
-
His output remains widely exhibited; major collections in the UK and abroad hold his works.
Personality and Working Ethos
Reynolds is described as urbane, intellectual, sociable, and with a gracious temperament.
He was said to be mild in temperament: one biographer wrote he “hated nobody.”
Though not married, Reynolds supported his household with his sister Frances acting as housekeeper.
Lessons from Joshua Reynolds
-
Art is elevated by ideas as well as technique
Reynolds believed that painting should engage literature, history, and philosophy, not just imitate what is seen. -
Draw on tradition, then innovate
His practice of borrowing and reinventing demonstrates that creativity often arises from reconfiguration, not pure novelty. -
Institution-building matters
His founding and leadership of the Royal Academy show that lasting influence often comes through teaching, organization, and advocacy. -
Balance ideal and real
His portraits show how to combine realism with idealization to create images of dignity and character. -
Work ethic and volume
His extraordinary productivity, supported by assistants and consistent discipline, underlines that influence often comes from sustained output.
Conclusion
Sir Joshua Reynolds played a pivotal role in British art—not only as a portrait painter but as a thinker, teacher, and institution builder. His Grand Style, his Discourses, and his leadership at the Royal Academy reshaped portraiture and elevated the status of the artist in 18th-century Britain. His works remain vital benchmarks in the history of portrait painting, and his ideas continue to speak to artists, historians, and admirers of the classical tradition.