Index

Hallett, Mark

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Index

Mark Hallett

Reynolds: Portraiture in Action

Index

Author

Mark Hallett

PublisherPaul Mellon Centre

Stable URL: https://aaeportal.com/?id=-22327

Index

NOTE: Works are listed at the end of artists’ entries. Portrait titles are filed alphabetically by surname or family name of the sitter, or by title of nobility if only the title is given in the portrait title; royalty are filed by given name. JR = Sir Joshua Reynolds.

Abington, Frances 383, 393–4, 393, 398, 400–3, 400

abolitionist movement 374

Académie Royale de Peinture et de Sculpture, Paris 32, 144

academies in London 31–2

actresses as subjects 383, 393–7, 400–6, 437

Adam, Robert 213, 214, 256

Addison, Joseph 269–70

advertising and promotion

artists’ cultivation of social skills and persona 45–6

benefits of collaboration with writers 136, 244, 246

dangers of appealing to the masses 255

print shops and wider exposure of work 20, 48–9, 126, 134, 143–4

collaboration on print series 282–3

control of prints and advertising 120–1

McArdell’s prints and dissemination of JR’s work 120–3

prints and public exhibitions 157, 159, 174

and rivalry in London art world 188

showrooms 19, 47, 143, 170, 425, 426

see also exhibitions and exhibition culture

Adye, Thomas: Charles Sergison monument 55, 57

aestheticism 110, 112–13

JR’s theories on art 131

racial contrast 201

refined taste and family portraits 333–4

see also beauty; connoisseurship

Aglionby, William 33–4, 37

agreeableness as quality in portraiture 43

JR’s agreeable/pleasing melancholy 3, 108, 112–13, 332, 405

Aikman, William 30

Aken, Joseph van 42

Alberti, Cherubino: Decorated Vase (after Polidoro de Caravaggio) 258–9, 259

Alexander, Cosmo 73–4

Aliamet, Francois: Surrender of Calais to Edward III (after Pine) 145, 146

Allan, David: Arrival of a Young Traveller and his Suite 74

allegory and myth in JR’s paintings 8–9, 100–1, 102

classical references in The Marlborough Family 322–3

depiction of Garrick and the two muses 138, 140–4

JR’s views on allegory in Discourses 215

and portraits of women 113–14, 151, 157

aristocratic women and mythological performance 193–4, 197–213, 216, 227, 331, 434, 436–7

as complement to decoration in British homes 213–15

Kitty Fisher as Cleopatra 128–9, 194

and Royal Academy submissions 226–33, 237–9

young girls as Hebe 237–8, 238

as supplement within portraits 14, 14

Althorp, Northamptonshire 264

American War of Independence 166, 168–9, 354, 358, 360, 428, 432

Amherst, Sir Jeffrey 177, 179, 180, 181–2, 184, 186–8, 432

Amorosi, Antonio Mercurio: Girl and Chickens 9, 10

Angus, William: Representation of the Exhibition of Paintings, at Somerset House (after Dodd) 405, 406

Anne, Duchess of Cumberland 254, 255–6, 260, 273, 330, 331

Anon.

Fair Lady Working Tambour 390, 391

Love’s Last Shift 376, 376

A Pindarick Ode on Painting 212

Southwark Macaroni 298, 298

Antichita di Ercolano Esposte, Le 322, 323

Antique

Aglionby’s praise of 33

Duke of Marlborough’s gem collection 319, 322

as model for JR’s portraits 100–1, 233, 404

mythological female figure

and decoration of British homes 213–15

and JR’s Royal Academy submissions 226–33

putti at play and The Marlborough Family 322–3, 334–6

and representation of aristocracy 100

see also allegory and myth in JR’s paintings

Apollo (Anon. after Legros) 101

appreciation of art

and ‘empathetic absorption’ 21

popular demand and accessible sites in London 60–5

see also exhibitions and exhibition culture; Reynolds, Sir Joshua: critical responses to work

architectural features and monuments

Blenheim and commemoration of 1st Duke of

Marlborough 314–16

inclusion in The Marlborough Family 316, 328, 330

in portraits of women 253, 258–60, 266

see also sculpture

Ariosto, Ludovico: Orlando Furioso 266, 266

aristocratic and elite clients and subjects

construction of persona in portraits 100–3, 105, 107–13

connoisseurship and The Marlborough Family 318–19, 322–3, 333–4

elite women and pastoral settings 253–83, 306, 331, 438

and female performance and display 193–4, 197–213, 215–17, 227

and female sitters 113–20, 230–1, 383–416, 417, 423

Prince of Wales 352, 357–8, 360, 406

Streatham Park library portraits 302–6

contemplative poses and intellectual activity 165, 432–3

men and learning 108–10, 112–13, 138, 187, 242, 244, 246–7

and pastoral settings 258, 269–73

women and ‘contemplative absorption’ 228–31, 233

women’s sideways gaze 117–20

and crisis in representation in portraiture 98, 100

demand for engravings of elite women 121, 122, 123, 253

and Leicester Square house and studio 159–60, 425

library portraits 295–6

‘Present Artists’ exhibition of aristocratic women 150–5

Royal Academy allegorical portraits of women 226–33

royalty as clients 129–30, 350–81

see also elite houses and estates; Grand Tourists

art history

and status of portraiture in hierarchy 21, 34, 35, 142

see also appreciation of art; history painting

Asleson, Robyn 229–30

Astley, John 28, 73, 95

Aubignac, Abbé d’: La Pratique du théâtre 140, 141

auction rooms and display of Old Masters 60–1

Baléchou, Jean Joseph: St Genevieve (after C. Van Loo) 235

Banier, Antoine 206

Banks, Sir Joseph 247, 248, 249

Baretti, Giuseppe 15, 16, 293, 298–9, 302, 304–5, 305

Guide through the Royal Academy 344, 345

Barrell, John 131

Barry, James

Giuseppe Baretti 304–5, 305

Temptation of Adam 224, 225

Bartolozzi, Francesco 319

Mrs Abington as the Comic Muse (after Cosway) 400, 401

Busts of Livia and Tiberius (after Cipriani) 321

Lord Burghersh (John Fane, 11th Earl of Westmorland) (after JR) 415

Gemmarum Antiquarum Delectus illustrations (after Cipriani) 317, 321

Orlando Furioso illustration (after Cipriani) 266

Beach, Thomas: Sarah Siddons as Melancholy in the Character of Milton’s ‘Il Penseroso’ 405, 405

Beattie, James 14–15, 14, 18, 19, 20

Beauties of the English Stage, The 140, 141

beauty

demand for engravings of elite women 121, 122, 123, 253, 281–3

and Gainsborough’s portraits of women 273–5

idealisation and portraits of women 117, 331

JR’s portraits of Kitty Fisher 126

JR’s portraits of women in elite and pastoral settings 253–83, 331, 438

comparison and continuum of elite beauty 255–67, 276–7, 281

print series 281–3

neck and upper body of women as site of beauty 117, 128, 129

popular and critical responses to JR’s portraits 426–7

see also aestheticism; women as sitters and subjects

Bellamont, Earl of see Coote, Charles

Bell’s British Theatre Series (prints) 400, 401

Bending, Stephen 233

benevolence of military elite 183, 184, 186, 187–8, 362, 428

Bickerstaffe, Isaac: The Sultan 402–3

Bignamini, Ilaria 31

Billington, Elizabeth 434, 435, 436–7, 438

Bingham, Sir Charles 128

Blakeney, William 72

Blandford, Marquess of 316–17, 322, 332–3

Bleek, Pieter Van: The Longeville Family of Oswestry 197–8, 197

Blenheim Palace, Oxfordshire 20, 311, 314

as memorial to 1st Duke of Marlborough 314–16, 315

redecoration and redesign by 4th Duke of Marlborough 316, 317–18

Bligh, Lieutenant General Thomas 170

Bode, Wilhelm 335

Bolswert, Schelte Adamsz.: Albert de Ligne, Prince of Arenburg (after van Dyck) 148

Bonomi, Joseph 428

Boswell, James 136, 296, 298, 299, 412, 413

Bouverie, Harriot 228, 230–1, 232, 233, 259

Bowles, John 121

Bowles, Thomas: A View of Leicester Square 160

Boydell, John: Shakespeare Gallery series 427

Boydell, Josiah

Charity (after JR) 276

Faith (after JR) 275

Hope (after JR) 276

Boyne, John: Falstaff and his Prince 356, 356

Braddock, General Edward 166, 168–9

Bradyll, Wilson 354, 367

Brandoin, Charles: Exhibition of the Royal Academy of Painting in the Year 1771 224, 225

Brettingham, Matthew 73, 81

Brewer, John 235

Broglie, Mareschal Duc de 185, 186

Brown, Jonathan 453n.58

Brown, Lancelot ‘Capability’ 318

Bryant, Jacob 319

Buck, Samuel and Nathaniel: West Prospect of his Majesties Dock-Yard, near Plymouth 52–3, 52–3

Bunbury, Lady Sarah (née Lennox) 195, 202, 203, 204–8

Burke, Edmund 15, 16, 105, 117, 221, 290, 294, 303, 392, 440

Burney, Charles 290, 293, 298–9, 301, 302

Burney, Edward Francis

Royal Academy Exhibition of 1784: The Great Room, East Wall 364, 409, 409

Royal Academy Exhibition of 1784: The Great Room, North Wall 360–2, 361

Royal Academy Exhibition of 1784: The Great Room, West Wall 402, 403

Sketch of a Wall at the Royal Academy Exhibition of 1781 347, 349–50, 349

Burney, Fanny 301–2, 309

Campbell, Robert 48, 73

Canot, Peter 165

caricatures of Grand Tourists 78, 78

JR’s contribution 78, 79–80, 80–1

Carlton House, London 354–5, 357, 375, 376

Casali, Andre: Story of Grunhilda 145

Cash, Arthur 134, 136

Catullus 199–200

Cavendish, Georgiana see Devonshire

celebrity and celebrity sitters 133–44

aristocratic women as celebrities 151, 264

Banks as scientist and adventurer 247, 249

portraits as attraction at exhibitions 151, 154–5, 157

portraits of clerics 244, 246–7

portraits of literary and theatrical celebrities 134, 136–44

actresses as subjects 383, 393–7, 400–6, 437

Elizabeth Billington 434, 436–7, 438

portraits of notorious women 126–7, 157, 159, 394

and royal controversy 255–6

see also royalty

Chaloner, Mary see Hale, Mary

Chambers, Robert 290, 292, 299, 302

Chambers, William 91, 144, 145, 223, 318, 318, 343

Chapman, H. Perry 72

Charlemont, Lord 73, 75, 81

Charlotte, queen of Great Britain 344–5, 347, 400, 416

Chartres, Louis Philippe Joseph d’Orléans, Duke of 354, 371–3, 371

Cheron, Louis 31

Chesterfield, 4th Earl of 295, 296

Chesterfield House, London: library portraits 295–6, 297

children and young girls as subjects 235, 236–8, 237–8, 409–10, 413, 416, 434

siblings in The Marlborough Family composition 332–6

depiction of eldest daughter 334

depiction of male heir 316–17, 332–3, 333–4

mask and mock fear 322–3, 334–6

see also family group portraits; maternal portraits

Cholmondeley, George James 432, 433–4, 433

Christian imagery and JR’s work 233, 275–6

Christie, James 1

Churchill see Marlborough

Cipriani, Giovanni Battista

illustrations for Duke of Marlborough’s Gemmarum

Antiquarum Delectus 319

antique cameo of Augustus 317

Busts of Livia and Tiberius 321

Marriage of Cupid and Psyche 321

Orlando Furioso illustration 266

Clarkson, Thomas 374

Clement, Dorothy 215

clerical celebrities and sitters 136–8, 244, 246–7

Clifford, James 299

Closterman, John 30

John, 1st Duke of Marlborough, and his Family 326, 327, 333

Charles Seymour, 6th Duke of Somerset 372, 373

clothing see dress in JR’s portraits

clubs and societies in London

artistic clubs and societies 31–2

JR’s literary club and members 242, 243, 244, 299, 307

Cock, David 157

Cockburn, Augusta Anne, Lady 4, 5, 6

Colman, George 143, 242, 243, 244

colonies see imperial subjects in JR’s work

Combe, William 187

Committee for the Abolition of the Slave Trade 374

competitions and Society of Arts 144–5

Conca, Sebastiano: St Cecilia 436, 436

Connoisseur, The (journal) 299

connoisseurship

as aristocratic occupation 75, 81, 214, 318–19

clients as connoisseurs 121, 129

Duke of Marlborough and The Marlborough Family 317, 318–19, 322–3, 333–4

JR on narrow-mindedness of 130–1

and portrait of Horace Walpole 108–10, 113

contemplative poses

men and learning 108–10, 112–13, 138, 187, 242, 244, 246–7

women and ‘contemplative absorption’ 228–31, 233

women’s sideways gaze and virtue and accomplishment 117–20

‘conversation piece’ portraits

The Eliot Family as 58–9

Zoffany’s style 323, 334

Cook, Thomas: Sarah Siddons as the Tragic Muse 401

Coote, Charles, Earl of Bellamont 10, 11, 12–13, 20

copies

business of copying successful paintings 48, 113

JR’s copies of Old Masters 38–9, 75, 77–8, 84–7, 100

see also prints and print trade

Copley, John Singleton: Sir William Pepperrell and his Family 337, 337

Coram, Thomas 62, 63

Correggio, Antonio: Danaë, Jupiter and Cupid 157, 159

Cosway, Maria 376

Cosway, Richard 349, 350, 351, 376–7

Mrs Abington as the Comic Muse 400, 400

Wisdom, Prudence, and Valour, Arming St George 355, 357

Cotes, Francis

as rival to JR 188–9, 190

Elizabeth Gunning, Duchess of Hamilton and Argyll 151, 153

Colonel William Philips 188–9, 188

William Romaine 136–8, 137

Anne Sandby as Emma, the Nut-Brown Maid 266, 266

courtesans

Gainsborough’s portraits 275

JR’s portraits and popular demand 124–5, 126–9, 157, 158–9, 159, 212

Covent Garden and portraiture practices 30

Coventry, Maria, Lady (née Gunning) 230

Craggs, Harriot see Eliot, Harriot

Craggs, James (Harriot’s father) 55

Craggs, James (Harriot’s grandfather) 55, 57

Craske, Matthew 229, 233

Crewe, Frances 228, 230–1, 233, 234, 259

Crow, Thomas 32

Cumberland see Anne, Duchess of Cumberland; Henry Frederick, Duke of Cumberland

Cutliffe, Charles 25

Dahl, Michael 30, 31

Daily Advertiser xii, 1

Dalton, Richard 73–4, 144, 145

Dance, Nathaniel: Arthur Murphy 303, 303

Dandridge, Bartholomew 30, 31, 44–5, 44, 113

John, 1st Earl Ligonier 172, 174

The Noel Sisters 45–6, 46

Davison, Jeremiah 30

James Douglas, 14th Earl of Morton, and his Family 323, 325

de Piles, Roger 34, 35, 43

Dean, John: Mary, Lady Cadogan (after JR) 416

death

and ‘contemplative absorption’ 228–31, 233

garden monuments and melancholy 258–60

and ‘Et in Arcadia Ego’ theme in art 228–9, 231, 259

Dempsey, Charles 335

Derby, Letitia (‘Mrs Smith’, later Lady Lade) 368, 368

Devis, Arthur 30

Self-portrait 69, 71

Devon: JR’s practice and clients in 51–4, 55–60

Devonshire, Georgiana, Duchess of 261, 262, 264–5, 282, 383, 386, 410, 411, 412

Dickinson, William

Elizabeth, Countess of Derby (after JR) 269

Richard Edgcumbe (after JR) 15, 17

Dilettanti, Society of 319, 320

Dixon, John

Annabella Blake (after JR) 227

William Robertson (after JR) 246

Dodd, Daniel: Representation of the Exhibition of Paintings, at Somerset House 405, 406

Dodsley, Robert 132, 133, 134

Dodsley brothers (publishers) 134, 136

drapery painting skills 42, 114, 116–17

dress in JR’s portraits

and aristocratic status 316–17, 334

and men of learning 302

Sterne’s persona 136, 138

and military men 185, 372, 428

Prince of Wales 352, 354, 356–7, 371, 372, 374–5, 378

and representation of women 114–17, 150–1, 256, 260

and fashion 115–16, 117, 264, 265, 270, 383, 384, 386–8, 396, 407, 410, 423, 438

and melancholy and mirth 281

richness and luxury and marriage theme 200

see also Garter regalia and JR’s works

Du Fresnoy, Charles: The Art of Painting 34–5, 37, 86

Duchange, Gaspar: Danaë, Jupiter and Cupid (after Correggio) 159

Dunkarton, Robert: Sisters Contemplating on Mortality (after Romney) 230, 259–60

Dyck, Sir Anthony van see van Dyck, Sir Anthony

Dyer, John 31

Dyer, Samuel 242, 243, 244

Dysart, Wilbraham Tollemache, 6th Earl of 276–7

Earlom, Richard

Exhibition of the Royal Academy of Painting in the Year 1771 (after Brandoin) 224, 225

Thomas Newton (after West) 13, 13

Edgcumbe, Captain George, 1st Earl of 15, 72, 77

JR’s portrait 65, 66, 68

patronage and support for JR 95, 97

Edgcumbe, Richard 15, 17, 301

Edgcumbe family 55

Edwards, Edward: Library at Strawberry Hill 296, 297

Egerton, Judy 452n.19

Eliot, Anne (later Bonfoy) 58, 114

Eliot, Edward (later 1st Lord Eliot) 57, 58

Eliot, Harriot (daughter) 58

Eliot, Harriot (née Craggs, wife) 55, 57, 58–9

Eliot, Richard (father) 55, 57–8

Eliot, Richard (son) 58

Eliot family 55, 57–60, 58

elite clients see aristocratic and elite clients and subjects

elite houses and estates

as background in portraits of aristocratic women 253, 256, 258–67, 270

as settings for display of works 19–20, 154, 155, 256, 264

Blenheim Palace and The Marlborough Family 314–16

mythological female subjects as complement to decoration 213–15

Prince of Wales and Carlton House 354–5

and responses of subjects and viewers 207–8

Thrales and Streatham Park library 20, 287–309, 294–5, 433

see also garden design and ornament; libraries

Elliot, Lieutenant William 362

Ellys, John 98

emotion and temperament in work

in early work 69, 71–2

and influence of Rembrandt 72

telling signs of Orme’s experiences in battle 169–70

women and ‘contemplative absorption’ 228–31, 233

see also melancholy; sensibility

‘empathetic absorption’ and art appreciation 21

en militaire female fashion 384, 386, 387–8

Entick, John 180, 181, 182

eroticism

elite beauties 265

Hymen figure in Elizabeth Keppel portrait 200–1

neck and upper body of women as site of beauty 117, 128, 129

nubile subjects 212

portraits of courtesans 129, 157, 159, 212

‘Et in Arcadia Ego’ theme 228–31, 233, 259

exhibitions and exhibition culture

example of French ‘Salons’ 32–3

JR’s gallery in Leicester Square studio 160–1

JR’s role in first public exhibitions 133–4, 144–6

choice of portraits for display 148–56

new venues for popular exhibition in London 60–5

prints on display with originals 157, 159, 174, 176

prints and displays of aristocratic beauties 123

and prioritisation of work in progress 19

and promotion of work 19

and reception by viewing public 155, 156, 159, 174–6, 181, 224, 225

JR’s portraits of female performance and display 215, 231, 393, 394

JR’s warning on appealing to the masses 255

Royal Academy exhibition room at New Somerset House 345, 347

showrooms as precursors to 47

see also Royal Academy of the Arts: annual exhibitions

Faber, John: Chief Justice John Willes (after Hudson) 48–9, 49

Facius, George Sigmund and Johann Gottlieb

Charity (after JR) 276

Faith (after JR) 275

Hope (after JR) 276

Falconet, Pierre-Étienne

Joshua Reynolds 222, 222, 249

Winter (sculpture) 267, 269, 272–3

family group portraits 54

The Eliot Family 58–60, 58

The Marlborough Family 310, 311–39, 328–9

break with compositional convention 323–32, 336

challenges of 314, 332–3, 339

depiction of siblings 332–6

emotional and bodily intimacy of family 336–9

personalisation to clients’ interests 319, 321–3, 333–4

see also children and young girls as subjects; maternal portraits

Farington, Joseph 49, 53–4, 91, 350, 443n.10

on Keppel portrait 98, 102

fashion and women’s dress in portraits 115–16, 117, 264, 265, 270

and experimental portraits of 1780s 383, 384, 386–8, 396, 407, 410, 423, 438

father figure: Duke of Marlborough 324–6, 332

Félibien, André 32

Finlayson, John: Maria, Duchess of Gloucester (after JR) 3, 4

Fisher, Edward

engravings after JR

Mr Garrick, between the Two Muses of Tragedy and Comedy 143–4, 143, 157

Hope Nursing Love 225

Honourable Augustus Keppel 134, 134

Right Honourable John, Lord Viscount Ligonier 174, 175

Laurence Sterne 136, 137, 138, 157

Anne Sandby as Emma, the Nut-Brown Maid (after Cotes) 266, 266

Fisher, Kitty 126–9, 127

Fitzherbert, Maria 369, 369, 371, 375

Flemish artists 33–4, 36, 197–8

see also Rembrandt van Rijn; Rubens; van Dyck

Florence: JR’s stay and sketchbooks 82, 82–5, 84–5

Forbes, E. G. 238

Foundling Hospital, London 51

as exhibition venue 61, 62–5, 144

‘Present Artists’ committee 145

Fountaine, Sir Andrew 295, 296, 296

Fox, Charles James 354, 355, 356, 364, 365, 371, 412, 425

France

depiction of battle in military portraits 170

Royal Academy and modern approach to art 32, 144

Frederick, Duke of York 379, 380, 381, 416, 417

Frey, Jacob: Cleopatra (after Maratti) 128

Frye, Thomas 147–8

Fuseli, Henry 361, 404

Death of Dido 349, 350, 404

Gainsborough, Thomas 425

boycott of 1784 annual exhibition 255, 362–3, 365

critics’ responses 273–5

as rival to JR 189–90, 255, 273–5, 281

portrait of Mary Robinson 394, 396

and portraits of royalty 351–2, 362

Queen Charlotte 350, 351–2

Mrs Grace Dalrymple Elliott 274, 274, 275

George III 350, 351–2

Family of George III 351, 352

George, Prince of Wales 362, 363, 396

Mrs Thomas Graham 273–4, 274

General Philip Honywood 189–90, 189

Colonel Edmund Craggs Nugent 189–90, 190

garden design and ornament

and melancholy 258–60

sculpture in 272–3

as settings for portraits of women 256

solitary walks 258, 269–70

Gardiner, Luke 6, 8, 19

Gardner, Reverend John 361, 362

Garrick, David 138, 139, 140–4, 143, 147, 147, 226, 290, 293, 299, 305

Garter regalia and JR’s works 187, 312, 316, 333

Prince of Wales portraits 352, 357, 367, 369, 371, 373–4, 378–9

Gascar, Henri 213

gem collecting and Duke of Marlborough 318–19, 322–3, 333–4

George III, king of Great Britain

and brother’s marriage 256

exasperation with son 355, 375, 376

and JR as Principal Painter in Ordinary to the King 365, 367

JR’s portraits of king and family 344–5, 347

marriage to Charlotte 194–5, 195, 197, 199, 200

portraits by JR’s rivals 350–1, 351–2, 355

as Prince of Wales

JR’s portrait 130

Leicester Square residence 159

and Sarah Siddons’ acting 400

support for Royal Academy of the Arts 222–3, 352

private view of annual exhibition 416–17, 418–19

George, Prince of Wales (later George IV)

abolitionist sympathies 374

at annual exhibition private view 416–17, 418–19

JR’s portraits 353, 356–8, 362–5, 366, 367–9, 369, 370, 371–6, 405–6, 416

martial strength and heroic precedents 352, 357–8, 360, 363–4

negative responses in press 363–4

public persona and hedonistic lifestyle 352, 354–6, 394

debts and austerity drive 375–6

heroic image and association with St George 355, 357, 374

ostentatious clothes and decor 354–5, 356, 374–5

political associations 354, 355, 356, 364–5, 371

and ridicule in press 355–6, 367–9, 371, 376, 394

Ghezzi, Pier Leone: John Martin, Joseph Henry of Straffan, Lord Bruce of Tottenham and Henry Willoughby, Later Lord Middleton 78, 78

Gibson-Wood, Carol 47

Gillray, James

The Thunderer 355, 356, 358

Wife & No Wife, or a Trip to the Continent 369, 369, 371

Girouard, Mark 300

Gloucester see Maria, Duchess of Gloucester; Willian Henry, Duke of Gloucester

Goldsmith, Oliver 221, 242, 243, 244, 299, 302, 305

Goldsworthy, Philippia 58, 59

Gombrich, E. H. 199

Gothic imagery and JR’s rivals 404–5

grace as quality in portraiture 43

Graces see Three Graces imagery

Granby see Manners, John

grand style and JR’s portraits 100, 131, 255, 437

ambition of The Archers 239, 242

Grand Tourists

in Rome 73, 74–5

caricatures and JR’s contribution 78, 78, 79–80, 80–1

and vogue for classical and Renaissance art at home 213–15

Grantham, Thomas, Lord 258

Gravelot, Hubert 31

frontispiece of The Beauties of the English Stage 140, 141

Green, Valentine

Francis, 5th Duke of Bedford, with his Brothers and Miss Vernon: St George and the Dragon (after JR) 333

prints of elite ‘Beauties’ after JR 281–3

Georgiana, Duchess of Devonshire 282, 282

Lady Jane Halliday 282, 283

Jane, Countess of Harrington 282, 282

Lady Louisa Manners 282, 283

Gribelin, Simon: Hercules frontispiece (after Paulo de Matteis) 142

Grignion, Charles: L’Allegro (after Hayman) 210–11, 211, 212

Guercino 229, 230

JR’s drawings after 38, 38, 228

Gunning, Elizabeth see Hamilton and Argyll, Duchess of

Gunning, Maria see Coventry, Maria, Lady

Gwynn, John 156, 165

Gwynn, Nell 126, 127

Haid, Johann Elias: L’Homme entre le Vice et la Vertu (after JR) 143–4, 143

Hale, Mary (née Chaloner) 208, 209, 210–13

Hall, John: William Robertson (after JR) 244, 246, 246

Hamilton, Gavin 74, 95

Elizabeth Gunning, Duchess of Hamilton and Argyll 151, 153

Hamilton, John 58, 59

Hamilton and Argyll, Elizabeth Gunning, Duchess of 151, 152–3, 154–5, 230

Hamilton Palace, South Lanarkshire 154, 155

Handel, George Friederic 210, 436–7

Hardy, James: Edmund Burke (after JR) 16

Hardy, Thomas 377, 423

Hargraves, Matthew 222

Harwood, Francis 73

Hawkesworth, John 247, 249

Hayman, Francis 31, 61, 62

Seven Years War paintings at Vauxhall Gardens 182–4

societies and committees 144, 145

L’Allegro 210–11, 211, 212, 277

Lord Clive Receiving the Homage of the Nabob (modello) 185, 186

David Garrick as Richard III 147, 147

The Surrender of Montreal to General Amherst (modello) 183–4, 184

Hayward, Thomas 258

Henry Frederick, Duke of Cumberland 130, 159, 255–6, 255, 273

Henry, Joseph 78, 78–9, 80–1

Highmore, Joseph 28, 31, 32, 48, 62, 63

Ceremony of the Installation of the Order of Bath 10, 12, 12

Hill, James 165

Hills, Paul 231

history painting

as pinnacle of art 34, 35

Earl of Shaftesbury on 142, 143

JR’s portrait of Garrick as playful parody 142–3

Society of Arts competition 144–5

Hoare, Henry 141

Hogarth, William 129, 131, 134, 157, 160, 454n.24

on female dress and beauty 448n.56

and portraitists and academies in London 30, 31, 32

Cholmondeley Family 59, 59

Captain Coram 62, 63, 63, 64

The Gate of Calais 165

Holland, Henry 354

Hood, Samuel Lord 364

Horace 247

houses

for portrait painters 47, 95

see also elite houses and estates

Houston, Richard 216

Gratitude: A Poem (after Liotard) 151, 153

William Kingsley Esqr (after JR) 149, 149

John Manners, Marquess of Granby (after JR) 181, 182

William Romaine (after Cotes) 137

Hudson, Thomas 31, 36, 47–9, 63–4, 396

criticism of JR’s work 98

division of labour in studio 42

expansion into West Country 47–8

and founding of Royal Academy 144

high-profile patrons 48–9

influence on JR’s portraits of women 113

JR’s apprenticeship with 25, 28, 33, 35, 38–9, 49

meeting with JR on return from continent 91

Old Master drawings 38, 47

prints of works 48–9

support for JR in early career 60

traditional style and quality of portraiture 42–4

Admiral John Byng 65, 67

Mary Carew as a Shepherdess 44, 45

Theodore Jacobsen 63, 63, 64

Charles, 3rd Duke of Marlborough, and his Family 327, 327, 328, 333

John Milner 63, 64, 64

Admiral Sir Chaloner Ogle 100, 101

Grace Parsons 42, 43, 43

Jacob Selfe 42, 43, 43, 44

Robert Walpole 48

Chief Justice John Willes 48–9, 49

Hume, David 110, 112–13

Humphry, Ozias: Ladies Horatia and Maria Waldegrave 388, 388

Hunter, William 239, 250

Huyssing, Hans 30, 31

Hyde, Mary 300

Hymen and theme of marriage and betrothal 197–9

idealisation and portraits of women 117, 331

imperial subjects in JR’s work 453n.60

intellectual community and JR’s circle 221–2

JR as intellectual figure 244, 249–50

literary club and members 242, 243, 244, 299, 307

portraits of 242, 244, 246–7, 299, 302, 305

female intellectuals and artists 307–8

see also aristocratic and elite clients and subjects: contemplative poses and intellectual activity; connoisseurship

Italy

JR’s tour of and studies in 51, 72–91, 100

caricatures of Grand Tourists 78, 79–80, 80–1

Italian sketchbooks 81–8, 82–8

Jacobsen, Theodore 63, 63, 64

Jennens, Charles 210

Johnson, Samuel 35, 145, 156, 221, 244

JR’s portraits 130, 130, 242, 243, 249

and Thrales at Streatham Park 294, 295, 296, 298–9, 300, 301–2, 305–6

Johnson, Thomas: The Celebrated Miss Murray (after Ross) 127

Kauffman, Angelica

Mrs Theresa Parker 306, 307

Joshua Reynolds 220, 221–2, 242, 249

Lady Georgiana, Lady Henrietta Frances and George John

Spencer, Viscount Althorp 265

comparison with JR’s portrait 264–5

Kedleston Hall, Derbyshire 213, 214

Kemble, Frances 400

Kendall, Walter 54, 54

Kent, William: Temple of British Worthies 309, 309

Keppel, Augustus 150, 200

JR’s portraits 72, 73, 98, 99, 103, 134, 134

and construction of persona 100–3, 105

and JR’s voyage to Europe 72

Keppel, Lady Elizabeth 150–1, 150, 193, 194, 195, 196, 197–202, 204, 215

Keppel, George, 3rd Earl of Albermarle 195, 200

Kilburn, Matthew 256

King, William 197, 199

Kingsley, Lieutenant General William 149–50, 149

Kirby, Joshua 165

Knapton, George 31

Kneller, Sir Godfrey 28, 30, 41, 42, 45–7

‘Academy of Painting’ 31

JR compared to 16, 18

Kit-Cat Club portraits 309

prints of works 121

studio practice

charm and artistic persona 45–6

daily routine and number of sitters 46–7

William Clayton, Baron Sundon 43, 44

Frederick, 1st Duke of Schomberg 172, 175, 185

Alexander Pope 55, 108, 112

The Celebrated Sally Salisbury (attrib.) 126, 127

Lade, Lady see Derby, Letitia

Lade, Lord John 368

landscape: women in pastoral settings 253, 256–83, 306, 331, 438

Langton, Bennet 108, 110, 374

Lascelles, Edwin 208

‘Laura Maria’: poetic panegyric to JR 426

Lawrence, Sir Thomas

as JR’s protégé and successor 437–8

Mrs Elizabeth Farren 437, 437, 438

Leger, Colonel St John 354

Legros, Pierre: Apollo 100–1, 101

Leicester Square (Leicester Fields), London 160

and artists’ studios 30

JR’s studio in 159–61, 425

Lely, Sir Peter 30, 42, 121, 122, 126, 213, 256

Lennox, Lady Sarah see Bunbury, Lady Sarah Leslie, Charles 160, 322

libraries

as communal living spaces 300–2, 300–1

display of portraits 294–5, 295–6, 297

see also Streatham Park, Surrey: JR’s portraits in library

Ligonier, John, 1st Earl 172, 173–5

Lincoln’s Inn Fields and portrait practices 28

Lippincott, Louise 121

literature

benefits of collaboration with writers 136, 244, 246

‘literary biography’ genre 244

literary celebrity 134, 136–8

literary club and members 242, 243, 244, 299, 307

pastoral poetry 271–3

sensibility

and pastoral poetry 271–2

and Thomas Tomkins 432–3

and ‘woman of feeling’ 235

Lloyd, Joanna 261, 263, 264, 266–7

London 26–7, 29

academies and clubs 31–2

concentration of portrait painters 28, 30–1, 60

early exhibition venues 60–5

Foundling Hospital 61, 62–5, 144

Vauxhall Gardens 61–2, 65, 144, 182–4

see also studios of JR

Louis Philippe Joseph d’Orléans, Duke of Chartres 354, 371–3, 371

Loutherbourg, Phillipe de 361, 362

Lyttelton, William Henry 288, 288, 303

McArdell, James 126

background 120

and competition committee of Society of Arts 145

engravings after JR 120–3

First Lord of the Admiralty, George, Lord Anson 120, 121

Elizabeth, Countess of Berkeley 118, 119, 121

Lady Anne Dawson 114, 121

Frances, Countess of Essex 121, 122

Lady Charlotte Fitzwilliam 120, 120

Lady Fortescue 121, 123

Frances Ann Greville and her Brother William 194, 194

Hannah Horneck 119, 119, 121

John, 10th Earl of Rothes 176, 176

Maria, Countess Waldegrave 216

Horace Walpole 448n.51

other engravings

Lady Boyd (after Ramsay) 114

Miss Fanny Murray (after Morland) 127

Macklin, Thomas: Poets Gallery series 427

Malone, Edmond 60, 101

Manners, John, Marquess of Granby 177, 178, 180, 181–2, 182, 183, 184–5, 186, 358

Mannings, David 12, 16, 55, 114, 154, 202, 264, 267, 384

Mantegna, Andrea: St James Led to Execution 85–6, 86

Maratti, Carlo: Cleopatra 128–9, 128

Marcantonio: Judgement of Paris (after Raphael) 153

Marchi, Giuseppe 74, 96, 97, 98, 105, 428

engravings after JR

Mrs Harriot Bouverie and Mrs Frances Crewe 227, 228

Honourable Miss Cholmondeley 237

George Colman 242, 243

Samuel Dyer, Esq., F.R.S. 242, 243

Oliver Goldsmith 242, 243

Maria, Duchess of Gloucester (formerly Waldegrave) 2, 3–4, 4

see also Waldegrave, Maria, Countess of

marine imagery see naval clients; sea imagery

Marlborough, John Churchill, 1st Duke of 326, 327

Blenheim as memorial to 314–16, 317

Marlborough, Sarah, Duchess of 314–15

Marlborough, Lady Caroline Spencer, Duchess of 311, 330

and composition of family portrait 323–32

maternal portrait 331–2, 332

Marlborough, Charles Spencer, 3rd Duke of 327, 327

Marlborough, George Spencer, 4th Duke of 311, 315, 316–23

as father and place in family portrait 324–6, 332

gem collection and connoisseurship 318–19

references in family portrait 322–3, 333–4

political career 316, 317

reclusive life at Blenheim 311, 317, 324

redecoration and redesign of Blenheim 317–18

marriage and betrothal as theme 6, 7, 8–9

eldest daughter in The Marlborough Family 334

and elite beauties 264–7

in female mythological portraits 194, 197–202, 208, 210–13

royal marriage 194–5, 195, 197, 199, 200

Martini, Pietro Antonio

Exhibition of the Royal Academy (after Ramberg) 376–7, 377, 378–9, 412–13, 414, 414, 416

Portraits of Their Majesty’s and the Royal Family Viewing the Exhibition of the Royal Academy (after Ramberg) 416–17, 418–19

masculine qualities in portraits 43–4

Duke of Marlborough as father 324–6, 332

final portraits in 1790 exhibition 428, 432–4

overblown heroism 242

and public persona of Prince of Wales 357, 362

restrained intellectualism 244, 246–7

masks and children in The Marlborough Family 322–3, 334–6

Mason, William 230, 272

maternal portraits 4, 5, 6, 216, 216, 231, 232, 233, 306, 383, 406–16

Mathias, Peter 296

Mavor, William 314, 318, 324–5

melancholy

in JR’s work 3, 108, 112–13, 154, 217

‘contemplative absorption’ and mortality 231

and garden design and ornaments 258–60

and The Marlborough Family 332

and Milton’s Il Penseroso 208, 210, 277, 281

portrait of Sarah Siddons 404, 405, 406

and price of military heroism 169–70, 171–2

and pastoral poetry 271–3

Menorca 72

mezzotints 120, 121–2

Michelangelo: Prophet Isaiah 404, 404

Mignard, Pierre: Louise de Kérouaille, Duchess of Portsmouth 201, 201, 202

Miles, Ellen 48

military portraits 165–91, 417, 423, 432

benevolence of military elite 183, 184, 186, 187–8, 362, 428

clemency and honour of military elite 185–6

depiction of reality of battle 170, 171–2

dress and uniform 185, 372, 428

and en militaire female fashion 384, 386, 387–8

melancholy and price of heroism 169–70, 171–2

military portraits exhibited in 1766 177, 180–2

iconography and style 184–8, 190

and rivals’ portraits 188–90

as model for George, Prince of Wales 357–8, 360, 372, 374

naval clients 53–4, 72, 98, 100–3, 105, 119–20

Society of Arts exhibition (1760) 147, 148–50

Milner, John 63, 64, 64

Milton, John

L’Allegro and Il Penseroso 208

pictorial responses 210–11, 211, 212, 277, 281, 405

Comus (masque) 210

mirrors: use in studios 19, 46

Monamy, Peter 61, 63

Montagu, Elizabeth 143, 307, 308, 308

Montfaucon, Bernard de: Antiquity Explained 205–6, 206

Montgomery, Anne (later Lady Townshend) 6, 7, 8–9, 13

Montgomery, Barbara 6, 7, 8–9

Montgomery, Elizabeth 6, 7, 8–9, 19

monuments see architectural features and monuments; sculpture

More, Hannah 390

Moreau, Jean-Michel: Monument du costume physique et moral (print series) 390, 391

Morier, David: ‘a General on Horseback’ 147

Morland, Henry: Miss Fanny Murray 126, 127

mortality and ‘contemplative absorption’ 228–31, 233

Moser, Mary 147

mothers see maternal portraits Mount Edgcumbe see Edgcumbe

Müntz, Johann Heinrich: Horace Walpole in his Library 300, 300

Murdoch, John 345

Murphy, Arthur 289, 290, 298, 302, 303, 303, 309

Murray, Fanny 126, 127

myth see allegory and myth in JR’s paintings

Natalis, Michael: Slumbering Silenus (after Romanelli) 8, 8

naval clients 53–4, 72, 98, 100–3, 105, 119–20

neck and upper body of women as site of beauty 117, 128, 129

neo-classical decoration

and full-length portraits of women 258–9

and mythological female figure 213–15

Newton, Francis 1

Newton, Thomas, Bishop of Bristol and Dean of St Paul’s 13–14, 13

Nivelon, François: The Rudiments of Genteel Behaviour 44, 44

Northcote, James 37, 38, 97, 170, 194, 364, 413, 440

completion of JR’s Sir John Fleming Leicester 428, 430

on deterioration of JR’s eyesight 427–8

on Keppel’s command of the Maidstone 102

on Leicester Square studio 160

on limitations of JR’s early work 54

on self-portrait pose 69

O’Connell, Sheila 143

oils 41

Old Masters

artists’ collections 38, 47, 60, 68

Blenheim Palace collection 318, 321

on display in auction rooms 60–1

on display in JR’s studio 112, 448n.32

Grand Tour and decoration of British homes 213–15

JR’s study and copying of 38–9, 75, 77–8, 84–7, 100

Omai 424, 425–6

Opie, John 376, 413

Order of the Garter see Garter regalia and JR’s works

Orme, Captain Robert 166, 168–70, 169, 174–6

Oxford University

JR’s allegorical paintings for New College 347

JR’s designs for stained glass window 275–6

JR’s honorary degree 249

Pächt, Otto 21

Padua 85–6

Page: Nine Living Muses of Great Britain (after Samuel) 308

Page, Thomas: The Art of Painting 38, 39, 41, 42, 117

Paine, James 157

painted copies of successful paintings 48, 113

Palma il Giovane: Expulsion of the Vices of the Church 15, 15

Palmer, John 54

Panofsky, Erwin 229

Paris: JR’s visit 51, 91

Pariset, D. P.: Joshua Reynolds (after Falconet) 222, 222

Parker, John 256, 258

Parker, Theresa (née Robinson) 256, 257, 258–60, 269, 306

Parker family 55, 256

Parker Long family 159

pastoral poetry 271–3

pastoral settings and portraits of elite women 253, 256–83, 306, 331, 438

comparison and continuum of elite beauty 255–67, 276–7, 281

and melancholy and mirth 277, 281

projection and withdrawal dynamic 260, 267, 269–73

Patch, Thomas 73, 75, 81

patronage

aristocrats in Rome 73, 74–5, 78

Hudson’s expansion into West Country 47–8

JR’s patrons

celebrity clients 133–44, 151, 154–5, 157, 159, 264

in Devon 51–4, 55–60

friends and portrait commissions 388, 390, 433–4

in London 95, 97

naval patrons 53–4, 72, 98, 100–3, 105, 119–20

Thrales and Streatham Park library 20, 287–309, 294–5, 433

see also aristocratic and elite clients and subjects

Paulo de Matteis: Judgement of Hercules 142, 142

Peake, Robert: Henry Frederick, Prince of Wales, and Sir John Harrington 239, 239

Pelham, Sophia 9, 9

Pelham, Thomas, Lord 258

Penny, Edward: Marquess of Granby Relieving a Sick Soldier 183, 183, 185

Penny, Nicholas 237–8, 264, 394

Pepys, Samuel 295, 296

Perry, Gill 113

Phillips, Charles

Frederick, Prince of Wales 373, 373

Charles, 2nd Duke of Richmond (attrib.) 331, 331

Picart, Bernard

frontispiece to Aubignac’s La Pratique du théâtre 140, 141

Wedding outside the Temple of Juno 198, 198

pigments 41

Pinchbeck, Christopher 321, 322

Pine, Robert Edge

Mrs Pritchard as Hermione 147, 155, 155

Surrender of Calais to Edward III 145, 146

Piper, David 295

Pitt, William 354, 376

Plan of an Academy committee 144

Plymouth and Plymouth Dock: JR’s studio and practice 51–60, 52–3

Pointon, Marcia 208, 212

Polidoro de Caravaggio: Decorated Vase 259

politeness 43, 235

Pond, Arthur 30, 31

Pope, Alexander 55, 112

Port Mahon, Menorca 72

portraiture and portrait painters

artistic persona and interpersonal skills 45–6, 47

categories and formats for 41

challenges of family group portraits 314, 332–3, 339

clerical subjects 136–8

comparison of naval portraits by Hudson and JR 65, 68, 100

crisis in representation of aristocratic clients 98, 100

Foundling Hospital as venue for portrait display 62–5

JR’s subjects and imaginative interchange with viewer 19, 43, 207, 211–12

London studios and practices

and academies and clubs in area 31–2

Westminster locations and JR’s apprenticeship 28, 30–1

in Present Artists exhibition (1760) 147–56

public and private role of portraits 18–19, 55

portraits for private distribution 113, 433

public response to portraits on display 155, 156, 159, 174–6, 181, 215, 224, 225, 393, 394

showrooms 19, 47, 143, 170, 425, 426

sitting as social occasion 46

and status in art hierarchy 21, 34, 35, 142

studio practice daily routine and number of sitters 46–7

display of Old Masters 47, 112

division of labour 42

houses for 47, 95

painted copies of successful portraits 48, 113

use of mirrors to entertain sitters 19, 46

study in Rome and reputation 73, 89, 91

tronie genre 97–8

Postle, Martin 16, 60, 100, 113, 138, 273

Poussin, Nicolas 322

Arcadian Shepherds 228, 229

Bacchanal before a Term 200, 200, 212

Et in Arcadia Ego 228, 229, 230, 259, 260

Judgement of Hercules 141–2, 142

‘Present Artists’ committee and exhibition (1760) 145–56

portraits and JR’s submissions 147–56, 166

search for own premises 156–7

Prince of Wales see George, Prince of Wales

prints and print trade

demand for portraits of women

elite women 121, 122, 123, 253

non-elite women 126–7, 159, 400

series of JR’s portraits of elite women 281–3

and membership of Royal Academy 223

and paintings exhibited at Vauxhall Gardens 61–2

Prince of Wales caricatures and satire 355–6, 356, 369, 369, 371, 376, 394

prints of JR’s works 3, 120–3

on display with paintings in exhibitions 157, 159, 174, 176

exposure and promotion of JR’s work 20, 48–9, 122–3, 126, 134, 143–4

military portraits 174, 176

portraits of women 120, 121–3, 126, 253, 281–3

print aesthetics in painted portraits 138

Walpole’s private run of portrait 448n.51

Prior, Matthew: Henry and Emma 266

profile portraits and men of learning 55

projection and withdrawal and portraits of women 260, 267, 269–73

promotion see advertising and promotion

prostitutes see courtesans

public exhibitions

genesis in London 133–4, 144–56

see also Royal Academy of the Arts: annual exhibitions

putti at play and The Marlborough Family 322–3, 334–6

racial and social contrast in paintings 185, 197, 201–2, 453n.60

Prince of Wales and black servant 370, 371, 374

Radice, Betty 322

Ramberg, Johann Heinrich

Exhibition of the Royal Academy 376–7, 377, 378–9, 412–13, 414, 414, 416

Portraits of Their Majesty’s and the Royal Family Viewing the Exhibition of the Royal Academy 416–17, 418–19

Ramsay, Allan 30, 129, 131

and JR’s portraits of women 113–14, 118, 151

Lady Boyd 113–14, 114

Lady Mary Coke 150

Dr Richard Mead 63, 64, 64

Miss Judith Morice as Diana 44, 45

Norman, 22nd Chief of MacLeod 100, 101

Raphael

Pope Leo X 84, 85

School of Athens 77–8, 77, 80–1, 100, 250–1

Ravenet, Simon-François

Arcadian Shepherds (after Poussin) 228, 229, 229

George II (after Morier) 147, 147

Sterne’s Sermons frontispiece 136, 137, 157

Rawdon, Lord Francis 428, 431, 432

Read, Katharine 73, 75

British Connoisseurs in Rome 75, 80

religious imagery 231, 275–6

Rembrandt van Rijn

JR’s copies of work and influence on 75, 77, 98

and tronie genre 97, 98

The Artist’s Son Titus 68

Old Man in a Fur Cap 97

Old Man Shielding his Eyes 71, 72

Self-portrait 71, 72

Renaissance art 33–4

and decoration of British homes 213–15

and JR’s ambitions for Royal Academy 223, 225, 250–1

and JR’s portrait of Sarah Siddons and Gothic counterpoints 404–5

Reni, Guido: St Michael the Archangel Slaying Satan 77, 100

Rennell, Thomas 54

Retford, Kate 326, 327, 406

Reynolds, Elizabeth (sister) 54–5

Reynolds, Frances (sister) 54–5, 57

Reynolds, Humphrey (brother) 54

REYNOLDS, SIR JOSHUA

and abolitionist movement 374

adaptation of imagery from earlier times 4, 6, 8, 15

and ambition of The Archers 239, 242

early self-portrait and Rembrandt’s work 72

and feminine withdrawal 269

library portraits and pose of portrait busts 303, 309

and marriage and betrothal theme 197–8

and military portraits 185, 186–7, 374

and portraits of women 113–14, 151, 213–15, 395–6

and portrayal of Kitty Fisher as Cleopatra 128–9

van Dyck and family group portraits 59–60, 321–2, 323, 337–8

and van Dyck’s portrait style 105, 107, 117, 149, 165, 186, 269, 328, 330, 374

animated quality of works 18, 69, 71, 129, 302, 304, 335–6, 374, 403

apprenticeship and learning his craft in London 25–49

commonplace book and influences 33–6, 34, 37–8, 37

concentration of portraitists in Westminster 28, 30–1

copying Old Masters 38–9, 38

and father 25, 28, 48, 49, 60

and traditional style of portraiture 42–5

training in use of equipment and paints 39, 41–2

and chiaroscuro

influence of Old Masters 68, 72, 86–7, 98, 103, 105, 108

and mezzotint reproduction 121–2

military portraits 169–70, 172, 176

and mood of Sarah Siddons portrait 404, 405

portraits of elite beauties 267, 331

colour in work 108, 396, 404, 405, 407, 409

commissions and collaboration with clients and sitters 19, 136, 244, 246, 258

construction of persona in portraits

actresses 401–5

aristocratic and elite clients 100–3, 105, 107–20, 352

character of young girls 237–8, 334–6

and female performance and display 193–4, 197–213, 215–17, 227, 237–8, 393–7, 400–6, 434, 436–7

literary and theatrical celebrities 136–44

men of learning 246–7, 249

military subjects 169–70, 180–2, 184–8, 190, 358, 360

Prince of Wales 352, 357–8, 360, 406

Streatham Park library portraits 302–6

critical responses to work 3, 350

Duke of Chartres portrait 372

and elite beauties 261, 264, 265, 273, 275, 390, 391–2, 427

and heroic masculinity of The Archers 242

late male portraits 434

and Marlborough Family portrait 311–14, 316, 317, 321, 332, 336

and maternal images 406

military viewer of portrait of Orme 174–6

portrait of Elizabeth Billington 434, 436, 438

portrait of Mary Robinson 394, 396

portrait of Sheridan 427

and portraits of children 434

positive responses 16, 18

‘Present Artists’ portraits 156

royal portraits 344–5, 352, 363–4, 367, 368, 369, 376, 377–8, 381

death and funeral 438, 440

development of distinctive style 68–9, 71, 100–3, 105, 107–13, 138

contrasting masculinities 242, 244, 246–7

early portraits and limitations 54

and female sitters 113–20, 193–4, 197–213, 383–416

grand style and portraits 100, 131, 239, 242, 255, 437

innovative composition in family portraits 323–32, 336

later experimental portraits of women 383–416, 417, 423

military portraits exhibited after Seven Years War 177, 180–2, 184–8, 358, 360

naval portraits and comparison with Hudson 65, 68, 100

and reputation and promotion of work 194, 426

reserved masculinity 432–4

see also adaptation of imagery from earlier times above

duplication of portrait poses 170, 171–2

early career 51–91

Devon portraiture practice 51–60

London presence 51, 60–5

practice and study in Italy 51, 72–91, 100

emotional complexity of portraits see emotion and temperament in work

exhibitions see exhibitions and exhibition culture

eye problems and end of career 427–8, 434, 438

friendships

late portraits of friends 432–4

in Rome 73–4, 81, 88–9

see also intellectual community and JR’s circle

on genius in art and warfare 190–1

and heroic masculinity of The Archers 242

honours and awards

appointment as Principal Painter to the King 365, 367

election as RA president and knighthood 223

honorary doctorate from Oxford 249

Lawrence as protégé and successor 437–8

Old Masters collection 47, 68, 112, 448n.32

painted copies of successful works 48, 113

patrons and clients see patronage: JR’s patrons

portraits of JR 220, 221–2, 222

see also SELF-PORTRAITS below

prints see under prints and print trade

reputation

and celebrity clients 133–44, 151, 157

concern on return from Europe 89, 91, 95

and distinctive style 194, 426

establishment in London 95–131

as pre-eminent artist and presidency of RA 223

and royal commissions 352

rivalry in London art world 188–90, 273–5, 281, 351–2, 362, 394, 404–5

Royal Academy role as president and ambitions for 223, 225, 250–1, 255

sensitivity to transitions in sitters’ lives 6, 8–9, 154–5, 206–8, 213, 265, 266–7, 332, 334

work as pictorial biography 215–17

see also marriage and betrothal as theme

sisters 54–5

sitters and subjects see aristocratic and elite clients and subjects; celebrity and celebrity sitters; children and young girls as subjects; family group portraits; military portraits; women as sitters and subjects

and societies and committees

Plan of an Academy committee 144

‘Present Artists’ committee and exhibitions 145–57, 166

Society of Arts 144–6

see also Royal Academy of the Arts

studios see studios of JR

theatricality of work 9, 19, 107–8

and early influences 44–5

and female performance and display 193–4, 197–213, 227, 237–8, 383, 393–7, 400–6, 434, 436–7

portrait of George, Prince of Wales 356–8

portrayal of Kitty Fisher as Cleopatra 128–9, 194

portrayal of David Garrick 138, 140–4

theories on art

Discourses lecture series 16, 200, 215, 223, 225, 254, 386

in letters to ‘The Idler’ 130–1, 221

CARICATURES

Caricature of Thomas Brudenell, Baron Bruce, the Hon. John Ward, Joseph Leeson, later 2nd Earl of Milltown, and Joseph Henry of Straffan (Four Learned Milordi) 78, 79, 80

Parody on the School of Athens 80–1, 80, 250

DRAWINGS and SKETCHBOOKS

Italian sketchbooks 81–8, 82–8

Woman with Clasped Hands Looking Upwards (after Guercino) 38–9, 38

A Young Man, Half-length, Looking Up to Right (after Guercino) 38–9, 38

HISTORY and SUBJECT PAINTINGS

Boy Laughing 347

A Boy Reading 68–9, 68

Charity (print) 275–6, 276

A Child Asleep 347

Continence of Scipio 427

A ‘Conversation’ 301

Death of Dido 347

Faith (print) 275–6, 275

Fortitude 347

Garrick portrait as hybrid mode 143

Hope (print) 275–6, 276

Hope Nursing Love (print) 225, 225

Infant Hercules 417, 427

Infant Jupiter 3

St Michael the Archangel Slaying Satan (after Guido Reni) 76, 77

Temperance 347

Thais 347, 348

Theory 345

Ugolino and his Children in the Dungeon 225–6, 226

PORTRAITS

Mrs Abington 393–4, 393

Mrs Abington as ‘Miss Prue’ 393–4, 393

Mrs Abington as Roxalana 383, 398, 400

Mrs Abington as the Comic Muse 400, 400

The Archers (Colonel Acland and Lord Sydney) 239, 240, 242

Sir Jeffrey Amherst 177, 179, 180–2, 186–8, 190, 432

Anne, Duchess of Cumberland 254, 255–6, 260, 330, 331

First Lord of the Admiralty, George, Lord Anson (print) 120, 121

Catherine, Lady Bampfylde 267, 268, 273, 330, 331

Sir Joseph Banks 247, 248, 249

Giuseppe Baretti and print 15, 16, 20, 290, 293, 304–5

Dr James Beattie 14, 14, 20

Sir George Beaumont 417, 417

Francis Beckford 117, 119

Susannah Beckford 114, 116–17, 116, 118–19

Francis, 5th Duke of Bedford, with his Brothers and Miss Vernon: St George and the Dragon (print) 333, 333

Elizabeth, Countess of Berkeley (print) 118, 119, 121, 128

Elizabeth Billington in the Character of St Cecilia 434, 435, 436–7, 438

Annabella Blake (print) 227, 227

Anne Bonfoy 114, 115, 116, 117

James Boswell 412, 413

Mrs Bouverie and her Son Edward 231, 232, 233

Mrs Harriot Bouverie and Mrs Frances Crewe (print) 227–9, 228, 230–1, 259

Master Thomas Bradyll 409, 410

Lady Sarah Bunbury Sacrificing to the Graces 194, 202, 203, 204–8, 253

Edmund Burke (1774) 290, 294, 303

Edmund Burke (1780) (print) 15, 16, 20

Charles Burney 290, 293, 302, 347, 349

Mary, Lady Cadogan 413, 416

Lord Richard Cavendish 391–2, 392

Sir Robert Chambers 290, 292, 302

Sir William Chambers 108, 109

Queen Charlotte 344–5, 347

Nathaniel Chauncey (print) 403, 403

George, 1st Marquess of Cholmondeley 384, 384, 388

George James Cholmondeley 432, 433–4, 433

Honourable Miss Cholmondeley (print) 237, 237

George Clive with Family and an Indian Maid 311, 312

Augusta Anne, Lady Cockburn, and her Three Eldest Sons 4, 5, 6, 267

George Colman (print) 242, 243

Francis Seymour Conway, 1st Marquess of Hertford 367, 367

Charles Coote, Earl of Bellamont 10, 11, 12, 20

Frances Crewe 231, 233, 234

Diana, Viscountess Crosbie 280, 281

Diana Disarming Cupid: Elizabeth Dashwood, Duchess of Manchester, and her Son George Montagu, Viscount Mandeville 227, 227

Lady Dashwood and her Son 406–7, 407, 425

Lady Anne Dawson (print) 113–14, 114, 121

Elizabeth, Countess of Derby (print) 267, 269, 272–3

Georgiana, Duchess of Devonshire and print 261, 262, 264–5, 282, 282

Georgiana, Duchess of Devonshire, with her Infant Daughter, Lady Georgiana Cavendish 383, 410, 411, 412

Robert Dodsley 132, 133, 134

Samuel Dyer, Esq., F.R.S. (print) 242, 243

Charlotte, Countess of Dysart 260–1, 261

Captain the Honourable George Edgcumbe 65, 66, 68

Richard Edgcumbe (print) 15, 17

The Eliot Family 58–60, 58

George Augustus Eliott, Lord Heathfield of Gibraltar 417, 422, 423

Sir Henry Englefield 412, 413

Sir James Esdaile 428, 429

Frances, Countess of Essex (print) 121, 122

Lord Burghersh (John Fane, 11th Earl of Westmorland) (print) 413, 415

Kitty Fisher 124, 126, 127–8

Kitty Fisher as Cleopatra Dissolving the Pearl 125, 128–9, 132, 194

Maria Fitzherbert 369, 369, 371

Lady Charlotte Fitzwilliam (print) 120, 120

Lady Fortescue (print) 121, 123

Lady Elizabeth Foster 417, 417

Charles James Fox 364, 365, 409, 425

Frederick, Duke of York 379, 380, 381, 416

David Garrick 290, 293, 305, 306

Mr Garrick, between the Two Muses of Tragedy and Comedy and print 138, 139, 140–4, 143, 157

George III 344–5, 347

Marriage of George III 194–5, 195, 197

George IV when Prince of Wales 352, 366, 367–9

George IV when Prince of Wales with a Black Servant 352, 369, 370, 371–6, 416

George, Prince of Wales 352, 353, 356–8, 360, 362–5, 405–6

Maria Gideon and her Younger Brother 438, 439

Oliver Goldsmith (1770) (print) 242, 243

Oliver Goldsmith (1772) 289, 290, 305, 306

Frances Ann Greville and her Brother William (print) 194, 194

Mrs Hale as ‘Euphrosyne’ 194, 208, 209, 210–13, 215

Lady Jane Halliday and print 276–7, 279, 281, 282, 283

Elizabeth Gunning, Duchess of Hamilton and Argyll 151, 152, 154–5, 157, 194

Jane, Countess of Harrington and print 260–1, 261, 282, 282

Miss Frances Harris 434, 434, 438

John Hawkesworth (print) 247, 249

Henry Frederick, Duke of Cumberland (print) 255, 256, 260

Augustus Hervey, 3rd Earl of Bristol 176–7, 177

Lady Honywood Playing with her Daughter 383, 407, 408, 409–10

Sir John Honywood 410, 410

Hannah Horneck (print) 119–20, 119, 121

General George Howard (print) 176

Dr Samuel Johnson (1756–7) 130, 130

Samuel Johnson (1770) (print) 242, 243, 249

Samuel Johnson (1772–8) 294, 295, 305–6

Walter Kendall 54

Commodore Augustus Keppel (1749) 72, 73

Commodore Augustus Keppel (1752–3) and print 98, 99, 100–3, 103, 105, 134, 134

Lady Elizabeth Keppel 150–1, 150

Lady Elizabeth Keppel Adorning a Term of Hymen 194, 195, 196, 197–202, 201, 253

Lieutenant General William Kingsley and print 149, 149

Bennet Langton 108, 110

Sir John Fleming Leicester (print) 428, 430, 432

John, 1st Earl Ligonier (c.1755–6) 172, 173

John, 1st Earl Ligonier (1760) and print 165–6, 172, 174, 174–6, 175, 186

Mrs Lloyd Inscribing a Tree 261, 263, 264, 266–7

Louis Philippe Joseph d’Orléans, Duke of Chartres 371–3, 371

Peter Ludlow 106, 107–8

William Henry Lyttelton 288, 288, 303

James McArdell 120, 121

John Manners, Marquess of Granby and print 177, 178, 180, 181–2, 182, 184–6, 190, 215, 358

Lady Louisa Manners and print 276–7, 278, 281, 282, 283

Giuseppe Marchi 96, 97, 98, 105

Maria, Duchess of Gloucester (1771–4) 2, 3, 260

Maria, Duchess of Gloucester (1773) 3, 4

Caroline, Duchess of Marlborough, with her Daughter, Lady Caroline Spencer 331–2, 332

Lady Caroline Spencer, Duchess of Marlborough (print) 330–1, 330

The Marlborough Family 310, 311–39, 328–9

Lady Frances Marsham 267, 270, 270

Mrs Elisha Mathew 267, 270, 270

Members of the Society of Dilettanti 319, 320

Miss Mary Meyer in the Character of Hebe 237–8, 238

Mrs Montagu (print) 307, 308

Montgomery Sisters 6, 7, 8–9, 19, 45

Major General George Catchmaid Morgan 417, 420

Arthur Murphy 289, 290, 303

Thomas Newton, Bishop of Bristol and Dean of St Paul’s Cathedral (print) 13–14, 13

Nelly O’Brien 157, 158, 159, 212

Omai 424, 425–6

Captain Robert Orme 165–6, 167, 169–70, 169, 171–2, 174–6

Miss Theophila Palmer Reading ‘Clarissa Harlowe’ 235, 236, 237

Theresa Robinson, Mrs John Parker 256, 257, 258–60, 306

Mrs Sophia Pelham 9, 11

Jane Pownall as Hebe 238, 238

Miss Price 237, 237

John Proby, 1st Baron Carysfort 104, 105, 107

Lord Francis Rawdon 428, 431, 432

Frances Reynolds 55, 57

Samuel Reynolds 56

William Robertson and print 244, 245–6, 246–7

Mrs Robinson 383, 394, 395, 396–7

Thomas Philip Robinson, Lord Grantham, and his Brothers 417, 421

Charles, 2nd Marquess of Rockingham 373, 373

The Roffey Family 311, 313

John, 10th Earl of Rothes (print) 176, 176

Sophia, Lady St Asaph, and her Son 412, 413, 413

Edwin, 2nd Baron Sandys 288, 288, 305–6

Richard Brinsley Sheridan 427, 427

Sarah Siddons as the Tragic Muse 383, 399, 400–2, 403–6, 436

Charlotte, Lady Smith, and her Three Children 383, 412, 413, 413

Mrs Mary Drummond Smith 383, 423, 423

Letitia Derby, ‘Mrs Smith’ 368, 368

Henry Somerset, 5th Duke of Beaufort 165, 166, 172

Princess Sophia Matilda of Gloucester 4, 4

Lord Henry and Lady Charlotte Spencer (Young Fortune Tellers) 334, 335

Mrs Elizabeth Stanhope 413, 415

Charles Stanhope, 3rd Earl of Harrington 358, 358

Laurence Sterne and print 133, 134, 135, 136–8, 137, 143, 157, 165, 246

Colonel Banastre Tarleton 358, 359, 394, 396

Henry Thrale 290, 293, 303

Mrs Thrale and her Daughter Hester 288–9, 289, 306–7

Anna Maria Tollemache 9, 10, 20

Thomas Tomkins 432–3, 432, 434

Charles Vernon 148–9, 148

The Ladies Waldegrave 383, 388, 389, 390–2

Maria, Countess Waldegrave (c.1760–1) 216

Maria, Countess Waldegrave (c.1763–5) 217

Maria, Countess Waldegrave, and her Daughter, Elizabeth Laura 216

Horace Walpole 108–10, 111, 112–13, 138

Miss Anna Ward 413, 415

Joseph Wilton 88–9, 90

William Windham 433, 433

Cornet Nehemiah Winter 170–2, 171

Dorothy, Lady Worsley 383, 384, 385, 386, 387–8, 438

Master Philip Yorke, later Viscount Royston 413, 415

SELF-PORTRAITS

Self-portrait Aged about Seventeen (c.1740) 39, 40

Self-portrait (c.1747–9) 69, 70, 71–2

Self-portrait (1770) (print) 249, 250

Self-portrait (1773) v, 249

Self-portrait (1775) 303–4, 304

Self-portrait as a Deaf Man (c.1775) 290, 291, 303–4

Self-portrait (c.1780) 344, 347

Reynolds, Martin (brother) 54

Reynolds, Mary (sister, later Palmer) 54

Reynolds, Robert (brother) 54

Reynolds, Samuel (engraver): Sir John Fleming Leicester (after JR) 428, 430

Reynolds, Revd Samuel (father)

and apprenticeship for son 25, 28, 48, 49, 60

death 54, 55

pride in JR’s early career 53

and son’s education 68–9, 89, 91

son’s portraits of 55, 56, 68

Reynolds, Theophilia (mother) 54

Ribeiro, Aileen 216, 410

Richardson, Dorothy 425, 426, 427, 434

Richardson, Jonathan 39, 48, 131

and ‘Academy of Painting’ 31

Essay on Painting 28, 35–7, 45

on clothing for female sitters 115–16

on commercialisation of portraiture 30–1

and defence of portraiture 18–19, 35, 36

influence on JR 35, 36, 37

as Hudson’s master 28

Old Masters collection 47, 60

studio practice and relations with sitters 46, 47

Thomas Hudson 36

Alexander Pope 55, 57

Richardson, Samuel 235

Rigaud, Hyacinthe 350

Riley, John 28, 34

Robertson, William 244, 245–6, 246–7

Robinson, Mary 383, 394, 395, 396–7

Rocque, John: A Plan of the Cities of London 26–7, 28, 29

role-play portraits 44–5, 45

Rolle, John, MP 378

Romaine, William 136–8, 137

Roman club 31

Romanelli, Francesco: Slumbering Silenus 8, 8

Rome

JR’s stay in 73–82

friendships and community of artists in 73–4, 81, 88–9

and reputation of portrait artists 73, 89, 91

see also Grand Tourists: in Rome

Romney, George 394

L’Allegro or Mirth 277, 277, 281

Mrs Thomas Carwardine and her Son Thomas 407, 407

Il Penseroso or Melancholy 277, 277, 281

Sisters Contemplating on Mortality 229–30, 230, 259–60

Rosa, Salvator 105

Rose and Crown club 31

Rosenthal, Angela 129

Ross, Thomas: The Celebrated Miss Murray 126, 127

Roubiliac, Louis François 31, 95

bust of Earl Ligonier 165

Alexander Pope 304

Rouquet, André 30, 32–3, 47

Rowlandson, Thomas: Political Affection 412, 412

Royal Academy of the Arts

annual exhibitions 223, 224, 225

aim to showcase new type of British art 225

dangers of appealing to the masses 255

Gainsborough’s portraits of elite women 273–5

hanging order and interaction of paintings 347, 349–50, 349, 360–2, 361, 367–9, 376–9, 377, 383–4, 391, 396–7, 403, 405–6, 409–10, 412–13, 414, 416, 417, 423, 438

JR’s experimental portraits of women in 1780s 383–416, 417, 423

JR’s final submissions in 1790 428–38

JR’s full-length women in elite and pastoral settings 253–83, 438

JR’s history and subject paintings 225–51, 347, 349, 427

JR’s Marlborough Family portrait (1778) 311–14

JR’s range of work illustrated in 1774 exhibition 1, 3–15, 16, 18

JR’s royal portraits 352, 360–5, 367–9

private view for royalty 416–17, 418–19

founding of 222–51

genesis in clubs and academies 31–2

institution and royal support 222–3, 225

JR’s ambitions for British art and reflection in work 223, 225, 233–4, 238–9, 250–1, 255

and rifts in Society of Artists 222

schools and training role 223, 344

JR’s death and funeral 438, 440

Lawrence as JR’s protégé and successor 437–8

membership and management

Academicians and Associate Academicians 223

JR as president 223, 225

row over election of Professor of Perspective 428

Zoffany’s portrait of Academicians 250–1, 251

New Somerset House premises 343–52, 344

Great Exhibition Room and JR’s submissions in 1780s 345, 347, 349–52, 349, 360–5

JR’s Theory library ceiling 344, 345

royalty

appointment as Principal Painter to the King 365, 367

as clients 129–30, 350–81

marriage of George III 194–5, 195, 197, 199, 200

as neighbours in Leicester Square 159

paintings by JR’s rivals 351–2, 362

private view of RA annual exhibition 416–17, 418–19

Rubens, Peter Paul 33–4, 75, 215, 395–6

Dismissal of the Lictors (with van Dyck) 185, 185

Education of Marie de’ Medici 205, 205

Helena Fourment 396, 397

Susanna Lunden (Le Chapeau de Paille) 396, 397

Marriage of Marie de’ Medici to Henri IV by Proxy 197–8, 197

St George and the Dragon in a Landscape 357, 357

Rusca, Francesco Carlo 30

Russel, William 170

Russell, John 368

Russell William 400, 403

Rysbrack, Michael 62

Sailliar, Louis: Helena Fourment (after van Dyck) 397

St Martin’s Lane Academy, London 31–2, 60–1, 62

Salisbury, Sally 126, 127, 127

‘Salon’ exhibitions in France 32–3

Saltram House, Plymouth 256, 258

Samuel, Richard: Nine Living Muses of Great Britain 307–8, 308

Sandby, Paul 126

Sandys, Edwin, 2nd Baron 288, 288, 305–6

Sayer, Robert 249, 253, 255

Scarisbrick, Diana 328

Scheemakers, Peter

monument to Anne Cox 259

‘Shepherd’s monument’ 228–9

Scott, James: Lady Caroline Spencer, Duchess of Marlborough (after JR) 330

Scott, Samuel 165

sculpture

in gardens 272–3

in portraits

female sculpture as counterpoint to male figure 331

women and virtue 267, 269, 272–3

sea imagery: shipwrecks and storms in portraits 102

Selwyn, George 301

sensibility

and Gainsborough’s work 274

and JR’s work

family portraits 326, 336

late male portraits 432–3

portraits of women 233, 235, 237–9, 258, 271–3, 306, 332, 416

and pastoral poetry 271–2

Serres, Dominic 361, 362

Seven Years War (1756–63) 147

JR’s portraits of military elite 165–91, 358, 360

published accounts and illustrations 180, 181–2

Shackleton, Mary 364

Shaftesbury, Anthony Ashley, 3rd Earl of 36, 133, 142, 143, 314

Shenstone, William: rural retirement and garden

ornament 272, 273

Sheridan, Richard Brinsley 403, 427, 427

Shipley, William 144

shipwrecks and storms in portraits 102

showrooms 19, 47, 143, 170, 425, 426

Shugborough gardens: ‘Shepherd’s monument’ 228–9

Siddons, Sarah 383, 399, 400–2, 403–6, 405, 436

sidewards gaze of women in portraits 117–20

Silenus mask 322

Slaughter’s Coffee House, London 31–2, 60

slavery and abolitionist movement 374

Sloman, Susan 190

‘Smith, Mrs’ (Letitia Derby) 368, 368

Smith, John

The Celebrated Sally Salisbury (attrib., after Kneller) 126, 127

Frederick, 1st Duke of Schomberg (after Knellner) 175

Smith, John Raphael: Mrs Montagu (after JR) 308

Smollett, Tobias 180, 181, 182

Snyders, Frans: Still-Life with Dead Game 239, 241

‘Society of Artists of Great Britain’ 1

competition from other artists 188–90

genesis after ‘Present Artists’ 1760 exhibition 156–7

JR’s continuing support for 223

JR’s military portraits in 1766 177, 180–2, 184–8, 190

JR’s portraits of women 215–17

in mythological roles 194, 197–202, 208, 210–13

reception by viewing public 215

print series of leading members 222, 222

rifts and founding of Royal Academy of Arts 222–3

war as theme in 1761 exhibition 165–6

Society of Arts (‘Society for the Encouragement of Arts, Manufactures and Commerce’)

Committee for Drawings 144

competitions and need for exhibition space 144–5

use of Great Room for public exhibitions 145–56

JR’s involvement with 144–6, 157

Society of Dilettanti 319, 320

solitude and elite women 258, 269–73

Solkin, David 62, 98, 100, 180

Sophia Matilda, Princess of Gloucester 4, 4

Spencer family 264, 265

see also Marlborough

statues see sculpture

Stella, Claudine Bouzannet: Le Masque (after Jacques Stella) 323

Stella, Jacques: Le Masque 322, 323, 335

Sterne, Laurence 133, 134, 135, 136–8, 137, 143, 157, 246

Stowe: Temple of British Worthies 309, 309

Strange, Robert: Judgement of Hercules (after Poussin) 141–2, 142

Strawberry Hill, Twickenham: library 295–6, 297, 300–1, 300–1

Streatham Park, Surrey 299

JR’s portraits in library 20, 287–309, 294–5, 433

Stuart, Frances 213

Stuart, James ‘Athenian’ 213, 214

Stubbs, George 349

Lady Reading in the Park 233, 235

A Repose after Shooting 239, 241, 242

Two Gentlemen Going a Shooting 239, 241, 242

studios of JR

collaboration and entertainment of clients 19

display of Old Masters in 112, 448n.32

early studio in Plymouth Dock 51–60

early studio in St Martin’s Lane 51, 60–5, 97, 105

Great Newport Street studio 105, 120, 170

Leicester Square studio 159–60, 425

painted copies of successful works 48, 113

prioritisation of work in progress 19

sale of prints from 120, 136

showrooms and promotion of work 19, 143, 170, 425, 426

see also portraiture: studio practice

sublime in JR’s work 105, 392, 403, 405, 423

Sweerts, Michel: Boy in a Turban and Holding a Nosegay 97, 98

Tarleton, Colonel Banastre 354, 355, 358, 359, 394, 396

Taylor, Tom 160, 322

Temple, Anna, Countess 193

theatre see actresses as subjects; Garrick, David; Reynolds, Sir Joshua: theatricality of work

Thomas, Noah 159

Thornhill, Sir James 31

thoughtfulness see contemplative poses

Thrale, Henry 20, 287, 295, 296, 298–300, 298, 302, 433

JR’s portrait 290, 293, 303

Thrale, Hester 20, 287, 290, 295, 296, 298–300, 301–2, 305, 433

JR’s portrait with daughter 288–9, 289, 306–7, 308

sale of JR’s portraits 309

Thrale, Ralph 296, 299

Three Graces imagery 199, 202, 205–6, 208, 210

Tintoretto, Jacopo 86–7, 103

Ecce Homo 86, 87

Martyrdom of St Agnes 86, 89

The Philosopher 86, 89

Tollemache, Anna Maria 9, 10, 20

Tollemache, Wilbraham, 6th Earl of Dysart 276–7

Tomkins, Thomas

The Beauties of Writing 466n.31

JR’s portrait 432–3, 432, 434

touch and intimacy in The Marlborough Family 336–9

Townshend, George, Lord 8, 13

Trevisani, Francesco: Banquet of Anthony and Cleopatra 128–9, 129

tronie genre 97–8

Tscherny, Nadia 244, 309

Tyers, Jonathan 61, 182

van der Puyl, Louis-François Gerard: George IV 378–9, 379

van Dyck, Sir Anthony 33–4, 131

and challenges of family group portrait 314

as exemplary portrait painter 36

JR compared to 16, 18

JR’s stylistic acknowledgement of 105, 107, 117, 149, 165, 186, 269, 328, 330, 374

and family portraits 59–60, 321–2, 323, 337–8

mythological guise of subjects 213

portrait and character of Earl of Clarendon 18

Albert de Ligne, Prince of Arenburg 148, 149

Mountjoy Blount, 1st Earl of Newport, and George, Lord Goring 374, 375

Lady Anne Carey later Countess of Clanbrassil 269, 271

Charity 4, 6

Emperor Charles I 328, 330, 330

Emperor Charles V on Horseback 84, 84, 102

Dismissal of the Lictors (with Rubens) 185, 185

Helena Fourment (attrib.) 396, 397

Philip Herbert, 4th Earl of Pembroke, and his Family 59–60, 59, 323

Sir Paulus Pontius 81, 81

William, Lord Russell, and George, Lord Digby 105, 105, 107, 114

James Stuart, 4th Duke of Lennox and 1st Duke of Richmond 107, 107

Suffer the Little Children to Come Unto Me 337–8, 338

Katherine Villiers, the Duchess of Buckingham, and her Children 321–2, 321

Thomas Wentworth, Viscount Wentworth and later 1st Earl of Strafford 186

Van Loo, Carle: St Genevieve 233, 235

van Loo, Jean-Baptiste 30, 48, 113

Vanbrugh, Sir John 314, 318

Vanderbank, John 31

Vasari, Giorgio 33

Vauxhall Pleasure Gardens, London 51, 61

as exhibition venue 61–2, 65, 144

Hayman’s paintings of Seven Years War 182–4

Velázquez: Surrender of Breda 453n.58

Venice 86–7

Venus de’ Medici 272, 272, 273

Vernet, Claude-Joseph: An Italian Harbour in Stormy Weather 102, 103

Vertue, George 30, 42, 43, 49, 113

Vierpyl, Simon 73, 81

viewing public

dangers of appealing to the masses 255

elite as subjects and viewers 207–8

JR’s subjects and imaginative interchange with viewer 19, 43, 207, 211–12

literary and mythological knowledge 215

see also exhibitions and exhibition culture: and reception by viewing public; public exhibitions; Reynolds, Sir Joshua: critical responses to work

virtue and female subjects 117–20, 212–13, 230–1, 233, 235

Duchess of Marlborough in family portrait 331

portraits of virtues 275–6

and sculpture in portraits 267, 269, 272–3

Virtuosi of St Luke 31

vision: lines of vision in The Marlborough Family 336

Waldegrave, Maria, Countess (later Duchess of Gloucester) 215–17, 216–17

see also Maria, Duchess of Gloucester

Walker, William: Girl and Chickens (after Amorosi) 9, 10

Walpole, Sir Edward 215

Walpole, Horace 129, 176, 185, 213, 215

on Duchess of Cumberland 256

on the Gunning sisters 151, 230

on JR’s likeness to van Dyck 149

on JR’s portrait of Garrick 140–1, 143

on JR’s portrait of George Cholmondeley 434

JR’s portrait and private distribution 108–10, 111, 112–13, 138

on JR’s portraits of women 157, 200, 237, 400

and Ramsay 151

the Waldegrave sisters 388, 390

and library at Strawberry Hill 295, 296, 300–1, 300

on masquerade at Richmond House 214–15

and theatricals at Holland House 202, 204

Walpole, Sir Robert 48

war see American War of Independence; military portraits; Seven Years War

Warner, Malcolm 205–6, 207

Waterhouse, Sir Ellis 16, 108, 197, 256

Watson, Caroline: Nathaniel Chauncey (after JR) 403

Watson, James

engravings after JR

L’Allegro 208

John Hawkesworth 249

General George Howard 176, 176

Samuel Johnson 242, 243, 249

Nelly O’Brien 159

Self-portrait 249, 250

Watson, Thomas

engravings after JR

Henry Frederick, Duke of Cumberland 255

Thomas Newton 13

Watts, John: Giuseppe Baretti (after JR) 16

West, Benjamin 223, 351, 409, 465n.99

Apotheosis of the Princes Alfred and Octavius 360, 361, 362

George III 386, 386

St Peter’s First Sermon 368

Thomas Newton 13, 13

Whately, Thomas 272

Wheatley, Francis 362, 438

Whitehead, William: ‘To Mr Garrick’ 140

Willes, Sir John 48–9, 49

William Henry, Duke of Gloucester 3, 159, 417

Williams, George 301

Williams, John Michael 148

Wills, James 30, 62

Wilson, Richard 74, 145

Wilton, Joseph

New Somerset House sculpted facade 344

in Rome 74, 88–9, 90, 95

and societies and committees 144, 145, 223

Wind, Edgar 140

Windham, William 433, 433

Winter, Nehemiah 170–2, 171

withdrawal and projection and portraits of women 260, 267, 269–73

Wolseley, Sir William 159

‘woman of feeling’ in literature 235

women as sitters

and subjects and JR’s style 113–20

actresses as subjects 393–7, 400–6, 437

comparison and continuum of elite beauty 255–67, 276–7, 281

and ‘contemplative absorption’ 228–31, 233

elite women and pastoral settings 253–83, 306, 331, 438

and female performance and display 193–4, 197–213, 215–17, 227, 237–8, 393–7, 400–6, 434, 436–7

knowing representations of courtesans 124–5, 126–9, 157, 158–9, 159, 212

modern experimental portraits in 1780s 383–416, 417, 423

mythological representations and neo-classical interiors 213–15

and physical beauty 117, 150, 151

popular and critical responses to 426–7

Royal Academy submissions of allegorical portraits 226–33, 237–9

sideways gaze and contemplative poses 117–20

see also dress in JR’s portraits: and representation of women; eroticism; virtue and female subjects

pictorial biographies 215–17

portraits for ‘Present Artists’ exhibition 150–5

projection and withdrawal dynamic 260, 267, 269–73

reproduction of portraits as prints 120, 121–3, 126, 159, 253, 281–3

and sensibility 233, 235, 237–9, 258, 271–3, 306, 332, 416

young girls 235, 236–8, 237–8, 334–6

see also maternal portraits

woodcuts as influence on JR’s work 172, 174

Worlidge, Thomas: David Garrick (as Tancred) 107, 108

Wray, Sir Cecil 364

Wright, Joseph 349, 350, 444–5n.79

writers see intellectual community and JR’s circle; literature

Ziesenis, Johann Georg: Queen Charlotte when Princess Mecklenburg-Strelitz 201, 201, 202

Zoffany, Johann 334, 460n.4

George III, Queen Charlotte and Six of their Children 323, 324

Royal Academicians 250–1, 251

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