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Sir Joshua Reynolds : the subject pictures

Author: Martin Postle
Publisher: Cambridge ; New York : Cambridge University Press, 1995.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Sir Joshua Reynolds's subject pictures were among the most widely discussed British paintings of the eighteenth century. Today Reynolds's reputation rests principally on his portraits, his theoretical writings on art and his role as president of the Royal Academy. But while he could complete the face of a portrait sitter in a matter of hours, his subject paintings often occupied him for months or even years, and it  Read more...
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Genre/Form: Catalogs
Criticism, interpretation, etc
Named Person: Joshua Reynolds, Sir; Joshua Reynolds, Sir; Joshua Reynolds, Sir; Joshua Reynolds; Joshua Reynolds, Sir; Joshua Reynolds; Joshua Reynolds; Joshua Reynolds
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Martin Postle
ISBN: 0521420660 9780521420662
OCLC Number: 28587273
Description: xxii, 374 pages, [16] pages of plates : illustrations (some color) ; 26 cm
Contents: 1. Several types of ambiguity: historical portraiture and history painting --
2. The infant academy --
3. 'Patriarchs, Prophets and Paviours': Reynolds as a history painter, 1770-1773 --
4. 'Fashion's fickle claim': high art 1773-1781 --
5. The Labours of Hercules (1782-1789) --
6. The 'modern Apelles' and the 'modern Maecenas': Reynolds, Boydell, and Macklin --
7. 'That ever living ornament of the English School': Reynolds's subject pictures, 1792-1830.
Responsibility: Martin Postle.
More information:

Abstract:

Sir Joshua Reynolds's subject pictures were among the most widely discussed British paintings of the eighteenth century. Today Reynolds's reputation rests principally on his portraits, his theoretical writings on art and his role as president of the Royal Academy. But while he could complete the face of a portrait sitter in a matter of hours, his subject paintings often occupied him for months or even years, and it is clear from Reynolds's own preoccupation with them, and the critical coverage they received during his day, that the subject pictures lay at the very heart of Reynolds's practice as a painter. In this, the first book to be devoted to this aspect of Reynolds's work, the subject pictures are shown as playing a vital role in shaping attitudes to high art during the major transitions in British culture of the late eighteenth and early nineteenth centuries.

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