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Delphi Collected Works of Joshua Reynolds
Sir Joshua Reynolds was a renowned portrait painter and aesthetician, who dominated English artistic life in the middle and late eighteenth century. Through his art and teaching, he strove to lead British painting away from the indigenous anecdotal pictures of the early 1700’s toward the formal rhetoric of the continental Grand Style. One of his greatest achievements was his seminal work as a founding member of the Royal Academy, serving as its first President until his death in 1792. He delivered annual lectures on art theory and became one of the most influential voices in British art history. His work helped Britain to establish its own artistic identity, inspiring countless artists for years to come. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Reynolds’ collected works, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)
* The collected paintings of Joshua Reynolds – over 350 images, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Reynolds’ celebrated works in detail, as featured in traditional art books
* Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the artworks you wish to view
* Includes Reynolds’ complete ‘Discourses’
* Also features his celebrated travelogue and study of Rubens, ‘A Journey to Flanders and Holland’, digitised here for the first time
* Features three bonus biographies – discover Reynolds’ artistic and personal life
The Highlights
Self Portrait (1748)
Captain the Honourable Augustus Keppel (1753)
Robert Orme (1756)
David Garrick between Tragedy and Comedy (1761)
Miss Nelly O’Brien (c. 1763)
Thomas The Brown Boy (1764)
Colonel Acland and Lord The Archers (1769)
Theophila ‘Offie’ Palmer Reading ‘Clarissa Harlowe’ (1771)
Mrs. Abington as Miss Prue in Congreve’s ‘Love for Love’ (1771)
Miss Frances Crewe (c. 1776)
Lady Elizabeth Delmé and Her Children (1779)
The Ladies Waldegrave (1780)
Thaïs (1781)
Lieutenant-Colonel Banastre Tarleton (1782)
Lord Heathfield (1787)
The Age of Innocence (c. 1788)
Self Portrait (1788)
Sarah Siddons as the Tragic Muse (1789)
The Paintings
The Collected Paintings
Alphabetical List of Paintings
The Written Works
A Journey to Flanders and Holland (1797)
Discourses (1887)
The Biographies
Reynolds (1890) by Sarah K. Bolton
Joshua Reynolds (1900) by William Cosmo Monkhouse
Sir Joshua Reynolds (1911)
* The collected paintings of Joshua Reynolds – over 350 images, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Reynolds’ celebrated works in detail, as featured in traditional art books
* Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings
* Easily locate the artworks you wish to view
* Includes Reynolds’ complete ‘Discourses’
* Also features his celebrated travelogue and study of Rubens, ‘A Journey to Flanders and Holland’, digitised here for the first time
* Features three bonus biographies – discover Reynolds’ artistic and personal life
The Highlights
Self Portrait (1748)
Captain the Honourable Augustus Keppel (1753)
Robert Orme (1756)
David Garrick between Tragedy and Comedy (1761)
Miss Nelly O’Brien (c. 1763)
Thomas The Brown Boy (1764)
Colonel Acland and Lord The Archers (1769)
Theophila ‘Offie’ Palmer Reading ‘Clarissa Harlowe’ (1771)
Mrs. Abington as Miss Prue in Congreve’s ‘Love for Love’ (1771)
Miss Frances Crewe (c. 1776)
Lady Elizabeth Delmé and Her Children (1779)
The Ladies Waldegrave (1780)
Thaïs (1781)
Lieutenant-Colonel Banastre Tarleton (1782)
Lord Heathfield (1787)
The Age of Innocence (c. 1788)
Self Portrait (1788)
Sarah Siddons as the Tragic Muse (1789)
The Paintings
The Collected Paintings
Alphabetical List of Paintings
The Written Works
A Journey to Flanders and Holland (1797)
Discourses (1887)
The Biographies
Reynolds (1890) by Sarah K. Bolton
Joshua Reynolds (1900) by William Cosmo Monkhouse
Sir Joshua Reynolds (1911)
1020 pages, Kindle Edition
Published September 4, 2023
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About the author
Peter Russell
284 books79 followersPeter Russell M.A., D.C.S., is a British author of ten books and producer of three films on consciousness, spiritual awakening and their role in the future development of humanity. He has designed and taught personal development programs for businesses, and has remained a popular public speaker.
In 1965 he was awarded an Open Exhibition to Gonville and Caius College, Cambridge, to study Mathematics. In 1969, he gained a First Class Honours in Theoretical Physics and Experimental Psychology. He then went to Rishikesh, India, where he trained as a teacher of Transcendental Meditation under Maharishi Mahesh Yogi. In 1971, he gained a post-graduate degree in Computer Science. From 1971 to 1974, he studied for a Ph.D. on the psychophysiology of meditation at Bristol University.
In 1965 he was awarded an Open Exhibition to Gonville and Caius College, Cambridge, to study Mathematics. In 1969, he gained a First Class Honours in Theoretical Physics and Experimental Psychology. He then went to Rishikesh, India, where he trained as a teacher of Transcendental Meditation under Maharishi Mahesh Yogi. In 1971, he gained a post-graduate degree in Computer Science. From 1971 to 1974, he studied for a Ph.D. on the psychophysiology of meditation at Bristol University.
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Displaying 1 of 1 review
December 23, 2023
I enjoyed seeing Reynolds' works of art and it is terrible to hear about his painting technique causing extensive cracking on his paintings. My absolute favorite is his "Age of Innocence".
"Sir Joshua Reynolds, the celebrated portrait painter and aesthetician that dominated English artistic life in the middle and late eighteenth century, was born in Plympton, Devon, on 16 July 1723, the third son of the Reverend Samuel Reynolds, master of the local Free Grammar School. The family held a place on the fringe of the lesser gentry, where all the men entered the Church. His father was a good-natured schoolmaster, whose enquiring mind was easily distracted by new interests, lacking a steady application to a single pursuit. The Reynolds household was scholarly, pious and always short of funds. From an early age young Joshua benefited from the many books scattered around his home, inspiring his passion for the arts and developing an elevated idea of the possible status of a painter. The narrow means of his upbringing had a lasting impact on the painter, who became miserly to a fault. His sister and later his niece always found it difficult to extract the necessary housekeeping money from him and his professional assistants were treated in an almost measly fashionDue to Hogarth’s somewhat antagonistic and brash personality, he was not commissioned to paint any similar portraits. The one true rival standing in Reynolds’ way was the Scottish artist Allan Ramsay (1713-1784), who was now advertising himself as a master of full-length portraits. Throughout the 1750’s both artists watched each other’s work closely and were at times influenced by each other. Although they were never close friends, they at least dined together once and shared a number of mutual and influential friends. Reynolds is reported to have called Ramsay “the most sensible among all those painting in his time”. Even though their relationship was lukewarm, no other painter ever enjoyed Reynolds’ hospitality"
"The portrait was exhibited at the Royal Academy in 1787 and an engraving was made soon after, capitalising on Heathfield’s fame. Within twenty years of its execution, the portrait was already in poor condition. Extensive cracking was a result of the defects of Reynolds’ painting technique. He is likely to have mixed his oil paints with varnish while they were on his palette. Employing an experimental binding media when making his paints, the artist had mixed pigment with mastic resin, a gelled medium called ‘megilp’ and linseed oil, which was used to build up paint and varnish in numerous layers. This meant that the oil did not dry at the same rate, causing the paint to shrink and crack. These problems also occur in the previous portrait of Colonel Tarleton. In 1809 several owners of Reynolds paintings complained that their pictures were already cracking and falling apart."
"Sir Joshua Reynolds, the celebrated portrait painter and aesthetician that dominated English artistic life in the middle and late eighteenth century, was born in Plympton, Devon, on 16 July 1723, the third son of the Reverend Samuel Reynolds, master of the local Free Grammar School. The family held a place on the fringe of the lesser gentry, where all the men entered the Church. His father was a good-natured schoolmaster, whose enquiring mind was easily distracted by new interests, lacking a steady application to a single pursuit. The Reynolds household was scholarly, pious and always short of funds. From an early age young Joshua benefited from the many books scattered around his home, inspiring his passion for the arts and developing an elevated idea of the possible status of a painter. The narrow means of his upbringing had a lasting impact on the painter, who became miserly to a fault. His sister and later his niece always found it difficult to extract the necessary housekeeping money from him and his professional assistants were treated in an almost measly fashionDue to Hogarth’s somewhat antagonistic and brash personality, he was not commissioned to paint any similar portraits. The one true rival standing in Reynolds’ way was the Scottish artist Allan Ramsay (1713-1784), who was now advertising himself as a master of full-length portraits. Throughout the 1750’s both artists watched each other’s work closely and were at times influenced by each other. Although they were never close friends, they at least dined together once and shared a number of mutual and influential friends. Reynolds is reported to have called Ramsay “the most sensible among all those painting in his time”. Even though their relationship was lukewarm, no other painter ever enjoyed Reynolds’ hospitality"
"The portrait was exhibited at the Royal Academy in 1787 and an engraving was made soon after, capitalising on Heathfield’s fame. Within twenty years of its execution, the portrait was already in poor condition. Extensive cracking was a result of the defects of Reynolds’ painting technique. He is likely to have mixed his oil paints with varnish while they were on his palette. Employing an experimental binding media when making his paints, the artist had mixed pigment with mastic resin, a gelled medium called ‘megilp’ and linseed oil, which was used to build up paint and varnish in numerous layers. This meant that the oil did not dry at the same rate, causing the paint to shrink and crack. These problems also occur in the previous portrait of Colonel Tarleton. In 1809 several owners of Reynolds paintings complained that their pictures were already cracking and falling apart."
Displaying 1 of 1 review