REYNOLDS, SIR JOSHUA (1723-1792), the most prom inent figure in the English school of painting, was born at Plymp ton Earl, in Devonshire, on July 16, 1723. He received a fairly good education from his father, who was a clergyman and the master of the free grammar school. At seventeen, the lad was apprenticed in London to Thomas Hudson, a native of Devon shire, who, though a mediocre artist, was popular as a portrait painter. Reynolds remained with Hudson for two years, and in I 743 he returned to Devonshire, where, settling at Plymouth Dock, he employed himself in portrait painting. By the end of 1744 he was again in London. He was well received by his old master, from whom he appears previously to have parted with some cold ness. Hudson introduced him to the artists' club that met in Old Slaughter's, St. Martin's Lane, and advised him as to his work. Reynolds now painted a portrait of Captain the Hon. John Hamil ton, the first that brought him any notice, with those of other people of some repute.
Meanwhile Reynolds had made the acquaintance of Lord Edg cumbe, who introduced him to Captain (afterwards Viscount) Keppel. Keppel was made aware of Reynolds' desire to visit Italy; and, as he had just been appointed to the command of the Mediterranean squadron, he invited the artist to accompany him in his ship, the "Centurion." The offer was gladly accepted. While Keppel was conducting his negotiations with the dey of Algiers, relative to the piracy with which that potentate was charged, Reynolds resided at Port Mahon, the guest of the gov ernor of Minorca, painting portraits; and in December 1749 he sailed for Leghorn, and then made his way to Rome. Of the early Italians he praises the "simplicity and truth" and observes that they "deserve the attention of a student much more than many later artists." In Venice he made memoranda of the gradations of light and shade in the pictures, "and this without any attention to the subject, or to the drawing of the figures." After more than two years in Rome, where he caught a severe cold which resulted in permanent deafness, Reynolds, in the spring of 1752, spent five months in visiting Parma, Florence, Venice and other important cities of Italy. Returning to England, Reynolds, after a brief stay in Devonshire, established himself as a portrait painter in St. Martin's Lane, London, whence he afterwards re moved to Great Newport Street, and finally, in 176o, to Leicester Square, where he continued to paint till his death.
In London, Reynolds stepped at once into a foremost position as the fashionable portrait painter of the day. In this he was greatly helped by his success in society. Throughout his career his social occupations claimed the next place to his painting. Lord Edgcumbe was a generous patron, and exerted himself to obtain commissions for his protege, of whose ability the por traits which he now produced—especially the famous full-length of his old friend Keppel—were sufficient guarantee. In 1755 his
clients for the year numbered 120, and in 1757 the number of sittings recorded reached a total of 677. He maintained his position unimpaired. During his year in London he had made the acquaintance of Dr. Johnson, which became a friendship for life. To him Burke and Goldsmith, Garrick, Sterne and Bishop Percy were before long added. Most of them were members of "The (Literary) Club," established at Reynolds' suggestion, in In 1760 the London world of art was greatly interested by the novel proposal of the Society of Artists to exhibit its works to the public. In the month of April a successful exhibition was opened, the precursor of many that followed. Reynolds con tributed four portraits. In 1765 the association obtained a royal charter, and became known as "The Incorporated Society of Artists"; but much rivalry and jealousy were occasioned by the management of the various exhibitions, and an influential body of painters withdrew from the society. They had access to the young king, George III., who promised his patronage and help. In De cember 1768 the Royal Academy was founded, and Reynolds, whose adhesion to the movement was for a time doubtful, was hailed by acclamation its first president. In a few months the king signified his approval of the election by knighting the new president, and intimating that the queen and himself would honour him with sittings for portraits to be presented to the Academy. Reynolds did not take any part in the educational work of the new institution, but on the social side he set the Academy on the lines it has followed with the greatest worldly success ever since. At his suggestion the annual banquet was instituted. To the specified duties of his post he added the delivery of a presi dential address at the distribution of the prizes, and his speeches on these occasions form the well-known "Discourses." These dis courses entitle their author to literary distinction; indeed, when they were first delivered, it was thought impossible that they could be the production of a painter, and Johnson and Burke have been credited with their composition, in spite of Dr. fohnson's indig nant exclamation—"Sir Joshua, sir, would as soon get me to paint for him as to write for him!" Sir Joshua was too successful an artist to escape the jealousy of his less fortunate brethren, and it must be admitted that his attitude towards some of his contemporaries was wanting in generosity. His relations with Gainsborough, who on his part was in fault, would require more space for discussion than can here be afforded, but he was not just either to Hogarth or to Richard Wilson. Cosmo Monkhouse in the Dictionary of National Biography speaks of "the beauty of his disposition and the nobil ity of his character," but adds : "he was a born diplomatist." In 1784 Reynolds was appointed painter to the king.