Sir Joshua Reynolds PRA (1723 - 1792)
RA Collection: People and Organisations
The Royal Academy’s first president, Joshua Reynolds, was considered the leading portrait painter of his day and a key figure in the Academy. Still in print today, and widely translated, his groundbreaking Discourses in Art were hugely influential on the development of British art.
The son of a Devonshire reverend and schoolmaster, Reynolds received a comprehensive education before being apprenticed to the portrait painter Thomas Hudson aged 17. In 1749, he was invited to join the HMS Centurion on a voyage to the Mediterranean; Reynolds disembarked in Rome and stayed there for two years, studying the Old Masters. While in Rome he suffered from a bad cold which left him partially deaf so that he often carried an ear trumpet round with him, and was often depicted carrying the trumpet.
Soon after his return, Reynolds set up a studio in London and quickly established himself as a sought-after portrait painter, making important aristocratic connections in the process. His circle of friends included 18th-century notables such as the writer Dr Samuel Johnson, actor and playwright David Garrick and statesman Edmund Burke. He painted memorable portraits of all of them.
Reynolds played a central role in organising the group of 34 artists and architects who signed a petition to found a Royal Academy of Arts, which was to hold annual exhibitions of living artists’ work (now known as the Summer Exhibition) and establish a free art school. After King George III approved the petition, Reynolds was unanimously elected the Academy’s President and knighted the following year. However, Reynolds was not a court favourite and painted the King only once, in a commission for the opening of the Royal Academy’s first official home at Somerset House in 1780.
Between 1769 and 1790, Reynolds set out his theories on art in a series of fifteen lectures in the Royal Academy Schools, published as Discourses on Art. He argued that painters should look to classical and Renaissance art as their model and should seek to idealise nature rather than copy it, setting out what would become known as the “grand manner” of painting. Reynolds positioned paintings of epic, historic scenes as the highest genre of art, despite the fact that high demand for his portraits meant that he rarely painted them himself.
Reynolds used his knowledge of the Old Masters to invigorate many of his portraits. His full-length portrait of Captain Keppel depicting the naval commander energetically striding forward is actually based on the classical statue of the Apollo Belvedere. Some artists such as Nathanial Hone felt he was too reliant of Old Masters and painted a picture titled The Conjurer in which prints of Old Masters whirl around the conjurer which was a veiled reference to his practice. Another Royal Academician, Thomas Gainsborough, fell out with Reynolds for years before seeking reconciliation on his deathbed, writing that he had always “admired and sincerely loved Sir Joshua Reynolds”.
Reynolds’s death was greatly mourned. When he died in 1792, Edmund Burke’s eulogy honoured him as “the first Englishman who added the praise of the elegant arts to the other glories of his country”. His body lay in the Royal Academy before being moved to St. Paul’s Cathedral and the procession included ninety one carriages carrying many distinguished persons, and was followed by all the Academicians and students from the RA Schools. There is a statue by Alfred Drury, installed in 1931 and around this statue which still greets visitors to the Royal Academy today. The fountains and lights arranged around the statue reflect the alignment of planets, the moon and stars at midnight on the night of Reynolds’s birth.
Profile
Foundation Member
Born: 16 July 1723 in Plympton, Devon, England, United Kingdom
Died: 23 February 1792
Nationality: British
Elected RA: 10 December 1768
President from: 1768 - 1792
Gender: Male
Preferred media: Painting
Works by Sir Joshua Reynolds in the RA Collection
11 results
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Sir Joshua Reynolds PRA
Lavinia, Countess Spencer
Mixed method engraving
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Sir Joshua Reynolds PRA
Lavinia, Countess Spencer
Mixed method engraving
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Sir Joshua Reynolds PRA
Portrait of Francis Hayman, R.A., 1756
Oil on canvas
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Sir Joshua Reynolds PRA
Theory, 1779-1780
Oil on canvas
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Sir Joshua Reynolds PRA
Studio Experiments in Colour and Media
Oil on canvas
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Sir Joshua Reynolds PRA
Portrait of Queen Charlotte, 1779
Oil on canvas
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Sir Joshua Reynolds PRA
Portrait of Giuseppe Marchi, 1753
Oil on canvas
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Sir Joshua Reynolds PRA
Portrait of King George III, 1779
Oil on canvas
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Sir Joshua Reynolds PRA
Portrait of Sir William Chambers, R.A., ca. 1780
Oil on panel
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Sir Joshua Reynolds PRA
Self-portrait of Sir Joshua Reynolds, PRA, ca. 1780
Oil on panel
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Sir Joshua Reynolds PRA
Spectacles belonging to Joshua Reynolds
Metal spectacles in a burgundy and brown leather case
Works after Sir Joshua Reynolds in the RA Collection
30 results
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After Sir Joshua Reynolds PRA
Garrick Between Tragedy and Comedy, after Sir Joshua Reynolds, 1 December 1811
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of Sir Joshua Reynolds, 20 January 1811
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of John, Marquis of Granby, 1 December 1810
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of John Dunning, Lord Ashburton, 4 June 1809
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of Oliver Goldsmith, 1 December 1770
Mezzotint
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After Sir Joshua Reynolds PRA
Portrait of Sir William Chambers RA, 1 March 1785
Stipple-engraving
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After Sir Joshua Reynolds PRA
Portrait of Giuseppe Baretti, 6 March 1794
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of George III, 18 June 1789
Stipple engraving
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William Blake
The Graphic Muse, 21 February 1806
Line engraving with stipple
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After Sir Joshua Reynolds PRA
Portrait of Samuel Johnson, 1 January 1787
Line engraving
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After Sir Joshua Reynolds PRA
Portrait of Angelica Kauffman, R.A., 3 September 1780
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of James Boswell, c. 1825?
Stipple engraving
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After Sir Joshua Reynolds PRA
Portrait of Miss Theophila Palmer, 14 July 1785
Stipple engraving
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After Sir Joshua Reynolds PRA
Self portrait, 1 March 1789
Stipple engraving
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After Sir Joshua Reynolds PRA
Self-portrait, 1 February 1795
Mezzotint
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After Sir Joshua Reynolds PRA
Self-portrait, 10 July 1770
Mezzotint
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After Sir Joshua Reynolds PRA
James Paine, Architect and James Paine Jun., [1767]
Mezzotint
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Francis Haward ARA
Mrs. Siddons in the character of the Tragic Muse, 4 June 1787
Stipple-engraving
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After Sir Joshua Reynolds PRA
Sir Jeffery Amherst, [1766?]
Mezzotint
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After Sir Joshua Reynolds PRA
Self-portrait, 1 December 1780
Mezzotint
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James Ward RA
Mrs. Billington as St. Cecilia, 10 January 1803
Mezzotint
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Francis Haward ARA
George, Prince of Wales, 18 January 1793
Stipple-engraving
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After Sir Joshua Reynolds PRA
The Holy Family, 12 August 1792
Line-engraving
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William Say
Cupid and Psyche, 1814
Mezzotint
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William Say
The Society of Dilettanti, [April 1821]
Mezzotint
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Charles Turner ARA
The Society of Dilettanti, [April 1821]
Mezzotint
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After Sir Joshua Reynolds PRA
Sir William Chambers, K.P.S., Treasurer of the Royal Academy, 1 December 1780
Mezzotint
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After Sir Joshua Reynolds PRA
Portrait of Samuel Johnson, 1770
Mezzotint
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Joseph Grozer
The Death of Dido, 30 May 1796
Mezzotint
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After Henry Thomson RA
The Infant Hercules, ?1790s
Oil on canvas
Works associated with Sir Joshua Reynolds in the RA Collection
182 results
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François Vivares
Jupiter and Europa, 10 April 1771
Line engraving
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Attributed to Sir Joshua Reynolds PRA
Lady with a Fan, ca. 1746
Oil on panel
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Giacomo De' Rossi
Letterpressed title-page of the latin descriptions of the plates, 1672
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Pietro Santi Bartoli
Plate 119: Other war trophies of the Emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 118: War trophies of the Emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 117: Latin inscriptions celebrating the victory over the Dacians, 1672
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Pietro Santi Bartoli
Plate 116: other series of coins celebrating the victory over the Dacians, 1672
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Pietro Santi Bartoli
Plate 115: Coins celebrating the victory over the Dacians, 1672
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Pietro Santi Bartoli
Plate 114: Dacian cattle , 1672
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Pietro Santi Bartoli
Plate 113: Dacian families migrating to another territories, 1672
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Pietro Santi Bartoli
Plate 112: Roman soldiers setting fire to the Dacian fortifications , 1672
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Pietro Santi Bartoli
Plate 111: Roman soldiers imprisoning some Dacian soldiers, 1672
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Pietro Santi Bartoli
Plate 110: Roman soldiers making Dacian prisoners , 1672
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Pietro Santi Bartoli
Plate 109: Roman soldiers capturing the Dacian officials, 1672
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Pietro Santi Bartoli
Plate 108: Roman soldiers capturing the Dacian officials, 1672
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Pietro Santi Bartoli
Plate 107: the Dacian cavalry fleeing the Romans, 1672
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Pietro Santi Bartoli
Plate 106: Roman cavalry chasing the Decian cavalry, 1672
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Pietro Santi Bartoli
Plate 105: a group of Dacians surrendering to Trajan and bringign gifts, 1672
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Pietro Santi Bartoli
Plate 104: Decebalus addressing the Dacians; and Decebalus stabbing himself to death, 1672
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Pietro Santi Bartoli
Plate 103: Emperor Trajan standing addressing two Roman legions while some soldiers carry Decebalus'treasures , 1672
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Pietro Santi Bartoli
Plate 102: Dacians fleeing after being defeated , 1672
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Pietro Santi Bartoli
Plate 101: Dacians assaulting a Roman fortress, 1672
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Pietro Santi Bartoli
Plate 100: Dacians leaving their fortifications in order to attack the Romans , 1672
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Pietro Santi Bartoli
Plate 99: Dacian ambassadors kneeling before Emperor Trajan asking for peace, 1672
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Pietro Santi Bartoli
Plate 97: Roman soldiers listening to Emperor Trajan's speech , 1672
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Pietro Santi Bartoli
Plate 96: Roman soldier distributing wheat to other soldiers, 1672
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Pietro Santi Bartoli
Plate 95: a group of Dacians at right kneeling and asking for Trajan's clemence , 1672
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Pietro Santi Bartoli
Plate 94: Dacians running out of the city and askign for clemence , 1672
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Pietro Santi Bartoli
Plate 93: Dacians poisoning themself after their defeat, 1672
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Pietro Santi Bartoli
Plate 92: Dacians setting fire to one of their city, 1672
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Pietro Santi Bartoli
Plate 91: a Dacian kneeling before emperor Trajan at centre, 1672
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Pietro Santi Bartoli
Plate 90: Roman soldiers cutting trees and making piles of wood, 1672
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Pietro Santi Bartoli
Plate 89: Roman soldiers destroying a Dacian fortress, 1672
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Pietro Santi Bartoli
Plate 88: Dacian soldiers stop the pace of Trajan's troops coming to the rescue, 1672
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Pietro Santi Bartoli
Plate 87: a Roman soldier informing Emperor Trajan about the battle with the Dacians, 1672
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Pietro Santi Bartoli
Plate 86: Roman soldiers attempting to climb the Dacian defense wall, 1672
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Pietro Santi Bartoli
Plate 85: Battle between Roman and Dacian soldiers , 1672
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Pietro Santi Bartoli
Plate 84: Dacians presiding their camps, 1672
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Pietro Santi Bartoli
Plate 83: Troops harvesting the crops, 1672
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Pietro Santi Bartoli
Plate 82: Continued march of the armies, 1672
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Pietro Santi Bartoli
Plate 81: Veteran soldiers and Romans with musical instruments , 1672
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Pietro Santi Bartoli
Plate 80: Emperor Trajan sending his soldiers to battler, 1672
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Pietro Santi Bartoli
Plate 79: Emperor trajan addressing the Roman soldiers, 1672
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Pietro Santi Bartoli
Plate 78: two men bringing the bull, the ram and the pork for the sacrifice , 1672
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Pietro Santi Bartoli
Plate 77: a sacrifice in honour of emperor Trajan's arrival, 1672
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Pietro Santi Bartoli
Plate 76: Emperor Trajan and Hadrian leading the Roman army , 1672
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Pietro Santi Bartoli
Plate 75: Dacian and Sarmatian soldiers sent to Emperor Trajan in order to establish the condition for the peace, 1672
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Pietro Santi Bartoli
Plate 74: Emperor Trajan followed by veterans; and Trajan performing a sacrifice, 1672
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Pietro Santi Bartoli
Plate 73: Emperor Trajan on horseback leading the Roman cavalry, 1672
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Pietro Santi Bartoli
Plate 72: Roman soldiers occupying Dacian fortifications, 1672
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Pietro Santi Bartoli
Plate 71: Dacian soldiers attaching a Roman camp, 1672
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Pietro Santi Bartoli
Plate 70: Dacian soldiers guarding a city, 1672
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Pietro Santi Bartoli
Plate 69: a group of men cutting trees and consolidating buildings, 1672
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Pietro Santi Bartoli
Plate 68: Romans and Dacians assist to a sacrifice performed by the Emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 67: Iazyges greeting Emperor Trajan; and Trajan performing a sacrifice, 1672
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Pietro Santi Bartoli
Plate 66: Roman sacerdotes following a Roman cavalry , 1672
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Pietro Santi Bartoli
Plate 65: Emperor Trajan land on the shore and advabce by land, 1672
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Pietro Santi Bartoli
Plate 64: Emperor Trajan making a sacrifice to Jupiter, 1672
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Pietro Santi Bartoli
Plate 63: a group of Roman soldiers greeting emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 62: emperor Trajan entering a Roman town through a triumphal arch
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Pietro Santi Bartoli
Plate 61: a group of Romans greeting the Emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 60: Romans making sacrifice in honour of emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 59: Emperor Trajan leaving for the Second Dacian War, 1672
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Pietro Santi Bartoli
Plate 58: the personification of Victory writing on a shield , 1672
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Pietro Santi Bartoli
Plate 57: Emperor Trajan and Decebalus addressing the Thirteenth Legion, 1672
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Pietro Santi Bartoli
Plate 56: Dacian officials kneeling before Emperor Trajan while castles and fortifications are demolished, 1672
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Pietro Santi Bartoli
Plate 55: Decebalus and the Dacians kneeling before Emperor Trajan askign for clemence, 1672
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Pietro Santi Bartoli
Plate 54: Emperor Trajan establishing peace with the Decebalus, 1672
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Pietro Santi Bartoli
Plate 52: Last battle between Dacians and Romans , 1672
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Pietro Santi Bartoli
Plate 51: Roman soldiers bringing two heads of Dacian prisoners before emperor Trajan, 1672
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Pietro Santi Bartoli
Plate 50: Dacians being defeated by the Romans soldiers , 1672
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Pietro Santi Bartoli
Plate 49: Dacians ambushing Roman soldiers while cutting trees in the forests, 1672
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Pietro Santi Bartoli
Plate 48: Roman soldiers cutting trees and building new camps, 1672
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Pietro Santi Bartoli
Plate 47: Dacians fighting the Roman and Sarmatian soldiers , 1672
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Pietro Santi Bartoli
Plate 46: Roman and Sarmatian soldiers fighting the Dacians , 1672
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Pietro Santi Bartoli
Plate 45: Emperor Trajan receiving two Dacians while Roman soldiers build new fortifications, 1672
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Pietro Santi Bartoli
Plate 44: The defeated Dacians seek shelter in the forests, 1672
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Pietro Santi Bartoli
Plate 42: Praetorian guards, 1672
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Pietro Santi Bartoli
Plate 40: emperor Trajan on horseback, and Roman soldiers building camps, 1672
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Pietro Santi Bartoli
Plate 38: Emperor Trajan addressing the soldiers, 1672
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Pietro Santi Bartoli
Plate 37: Emperor Trajan sacrificing a pork, a ram, and a bull, 1672
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Pietro Santi Bartoli
Plate 36: Emperor Trajan receiving the Dacian ambassadors, Roman soldiers building fortifications, 1672
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Pietro Santi Bartoli
Plate 35: Emperor Trajan discussing with soldiers a plan to fight the enemies, 1672
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Pietro Santi Bartoli
Plate 34: Emperor Trajan leading the army ouside the camp to fight , 1672
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Pietro Santi Bartoli
Plate 33: Emperor Trajan distributing the congiary; Dacian women torturing Roman prisoners with torches, allies of the Romans bringing provisions, 1672
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Pietro Santi Bartoli
Plate 32: Dacian soldiers being defeated by the Roman soldiers, 1672
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Pietro Santi Bartoli
Plate 31: Dacian soldiers being defeated by the Roman soldiers, 1672
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Pietro Santi Bartoli
Plate 30: Roman soldiers preparing for the fourth battle with the Dacians / engraved plate from Colonna Traiana by Pietro Santi Bartoli, published by Giacomo de Rossi (Rome, 1672), 1672
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Pietro Santi Bartoli
Plate 29: Dacian soldiers being received by Trajan, Roman soldiers are consolidating walls, doctors are giving assistance , 1672
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Pietro Santi Bartoli
Plate 28: Battle between Romna soldiers and Decians, 1672
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Pietro Santi Bartoli
Plate 27: Sarmatian cavalry fleeing the Roman army, 1672
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Pietro Santi Bartoli
Plate 26: Emperor Trajan on horseback leading his army against Decebal, 1672
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Pietro Santi Bartoli
Plate 25: The emperor Trajan's landing, 1672
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Pietro Santi Bartoli
Plate 24: emperor Trajan entering the city in a boat , 1672
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Pietro Santi Bartoli
Plate 23: Dacians besieging Roman a fortress and Romans bringing provisions, 1672
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Pietro Santi Bartoli
Plate 22: Dacians being caught in a swollen river, the Sarmatian cavalry attacking a Roman fortress, 1672
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Pietro Santi Bartoli
Plate 21: Dacians defeted, Emperor Trajan ordering his soldiers to free the women and the children, 1672
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Pietro Santi Bartoli
Plate 19: battle scene with Dacians Dacians fleeing and the Romans and victorious Roman soldiers crossing Tisa river with trophies, 1672
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Pietro Santi Bartoli
Plate 18: Dacian and Roman soldiers asking for Jupiter's protection, a group of men at centre carrying the dead body of a Dacian prisoner, 1672
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Pietro Santi Bartoli
Plate 17: Roman soldiers at right presenting two heads of Dacian prisoners before emperor Trajans, 1672
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Pietro Santi Bartoli
Plate 16: Roman soldiers cutting trees and another group wearing armour and carrying war trophies, 1672
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Pietro Santi Bartoli
Plate 15: A group of Roman soldiers on horseback crossing a wooden bridge, and Roman soldiers in armour, 1672
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Pietro Santi Bartoli
Plate 53: Emperor Trajan determining the conditions for a peace treatise with the Decebalus, 1672
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Pietro Santi Bartoli
Plate 14: Roman soldiers building fortifications, soldiers holding the horses of the emperor, and soldiers guarding the Porta Pretoria, 1672
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Pietro Santi Bartoli
Plate 13: two Dacian prisoners being presented before Emperor Trajan while other soldiers building fortifications, 1672
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Pietro Santi Bartoli
Plate 12: Emperor Trajan observing the fortifications built by the Roman soldiers, 1672
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Pietro Santi Bartoli
Plate 11: Emperor Trajan sending explorers and soldiers cutting trees, 1672
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Pietro Santi Bartoli
Plate 10: Emperor Trajan supervises the works at the camp with a Prefect and a Tribun, 1672
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Pietro Santi Bartoli
Plate 9: soldiers building a camp, 1672
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Pietro Santi Bartoli
Plate 8: Emperor Trajan addressing the soldiers, 1672
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Pietro Santi Bartoli
Plate 7: Emperor Trajan making a sacrifice, 1672
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Pietro Santi Bartoli
Plate 6: Emperor Trajan sitting on a camp stool discussing with Lucio Prefetto , 1672
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Pietro Santi Bartoli
Plate 5: Roman soldiers marching carrying war trophies, led by soldiers on horseback, 1672
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Pietro Santi Bartoli
Plate 4: the statue of river Danube and the army crossing the river on a bridge made of boats, 1672
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Pietro Santi Bartoli
Plate 3: 'Scapha vinaria', boats for transporting wine, oil and grain to the fortifications, 1672
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Pietro Santi Bartoli
Plate 2: Praetorian soldiers and fortifications, 1672
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Pietro Santi Bartoli
Plate 1: granary, heap of wood for fortifications, bundles of horse feed, castles , 1672
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Pietro Santi Bartoli
Right and left sides of the column plinth showing the 'Throphies', 1672
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Pietro Santi Bartoli
Front and back sides of the column plinth showing the 'Throphies', 1672
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Pietro Santi Bartoli
Elevation and interior section of the top of the column, 1672
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Pietro Santi Bartoli
Elevation and interior section of the body of the column, 1672
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Pietro Santi Bartoli
Elevation and interior section of the base of the column, 1672
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Pietro Santi Bartoli
Colonna Traiana, 1672
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Pietro Santi Bartoli
Plate 20: Emperor Trajan receiving the Dacian envoy, 1672
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Giorgio Vasari
Stamp of Jacopo Giunti (from Giorgio Vasari, Le Vite De' Piu Eccellenti Pittori, Scultori, E Architettori), 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Perino del Vaga, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Sebastiano Veneziano, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Giulio Romano, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Antonio da Sangallo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Marcantonio Raimondi, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Valerio Vicentino, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Baccio D'Agnolo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Francesco Granacci, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Liberale da Verona, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Palma il Giovane, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Parmigianino, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Border for a portrait of Marco Calabrese, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Morto da Feltre, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Franciabigio, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Bartolomeo Ramenghi, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Rosso Fiorentino, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Polidoro da Caravaggio, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Girolamo da Treviso, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Giovanni Antonio Sogliani, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Il Pordenone, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Alfonso Lombardi , 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Properzia de' Rossi, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Giovan Francesco Penni, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Baldassarre Peruzzi, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Lorenzo Lotti, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Lorenzo di Credi, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Baccio da Montelupo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Benedetto da Rovezzano, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Andrea dal Monte Sansovino, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Vincenzo Tamagni , 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Andrea Ferrucci, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Domenico Puligo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Simone del Pollaiolo ( Il Cronaca), 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Guillaume de Marcillat, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Raphael (Raffaello Sanzio), 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Giuliano da Sangallo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Decorative frame for portrait of Pietro Torrigiano , 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Raffaellino del Garbo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Andrea del Sarto, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Mariotto Albertinelli, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Fra Bartolomeo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Donato Bramante, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Piero di Cosimo, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Decorative frame for portrait of Correggio, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Giorgione, 1791 [-1795]
Woodcut on laid paper
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Giorgio Vasari
Leonardo da Vinci, 1791 [-1795]
Woodcut on laid paper
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Unidentified photographer
A group of 110 photographs of sculpture by Francis Derwent Wood R.A.
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Giuseppe Ceracchi
Bust of Sir Joshua Reynolds, P.R.A., ca. 1778
Marble
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Unknown
Cast of a bust of Sir Joshua Reynolds, P.R.A., ca. 1778
Plaster cast
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Conrad Martin Metz
Madonna and Child from the Cupola of the church of St. John at Parma attributed to Correggio, 1789
Etching and aquatint
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Conrad Martin Metz
Madonna and Child attributed to Correggio, 1789
Crayon-manner etching
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Conrad Martin Metz
Study of a nude bearded man seen half-length attributed to Carlo Cignani , 1789
Crayon-manner etching
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Conrad Martin Metz
Study of Icarus (?) attributed to Rubens, 1789
Crayon-manner etching
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Conrad Martin Metz
Parmigianino's 'Madonna of St Margaret' , 1789
Etching
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Conrad Martin Metz
Madonna and Child with Saint John the Baptist /, 1789
Etching and aquatint printed in colour
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Conrad Martin Metz
Studies of man (front and back), harm, and head of a horse , 1789
Etching and aquatint printed in colour
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Ivory miniature of Joshua Reynolds
Watercolour on ivory
Associated books
55 results
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Sir Joshua Reynolds PRA, 1723-1792.
A discourse, delivered to the students of the Royal Academy, on the distribution of the prizes, December 11, 1769, by the President [Sir Joshua Reynolds] - London: 1769
14/3025
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Sir Joshua Reynolds PRA
The Discourses Of Sir Joshua Reynolds; Illustrated By Explanatory Notes & Plates By John Burnet, F.R.S. - London.: 1842.
07/1662
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Sir Joshua Reynolds PRA
The Literary Works Of Sir Joshua Reynolds, First President Of The Royal Academy. To Which Is Prefixed, A Memoir Of The Author; With Remarks On His Professional Character, Illustrative Of His Principles And Practice. By Henry William Beechey. In Two Volumes. Vol. I. (II.) - London:: 1835.
05/5039
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Sir Joshua Reynolds PRA
Sir Joshua Reynolds' Notes And Observations On Pictures, Chiefly Of The Venetian School, Being Extracts From His Italian Sketch Books; Also, The Rev. W. Mason's Observations On Sir Joshua's Method Of Coloring. And Some Unpublished Letters Of Dr. Johnson, Malone, And Others. With An Appendix, Containing A Transcript Of Sir Joshua's Account Book, Showing What Pictures He Painted And The Prices Paid For Them. Edited By William Cotton, Esq. - London:: [1859]
05/4008