"to the splendor of the foliage, to the neglect of the stirring the earth about the roots. They cultivated only those arts which could add splendor to the nation, to the neglect of those which supported it – They neglected Trade and substantial Manufacture...but does it follow that a total revolution is necessary that because we have given ourselves up too much to the ornaments of life, we will now have none at all".When attending a dinner at Holland House, Fox's niece Caroline was sat next to Reynolds and "burst out into glorification of the Revolution+ – and was grievously chilled and checked by her neighbour's cautious and unsympathetic tone".
"I had long languished to see that kindly zealous friend, but his ill health had intimidated me from making the attempt": "He had a bandage over one eye, and the other shaded with a green half-bonnet. He seemed serious even to sadness, though extremely kind. ‘I am very glad,’ he said, in a meek voice and dejected accent, ‘to see you again, and I wish I could see you better! but I have only one eye now, and hardly that.’ I was really quite touched".On 5 November Reynolds, fearing he might not have an opportunity to write a will, wrote a memorandum intended to be his last will and testament, with Edmund Burke+, Edmond Malone+, and Philip Metcalfe+ named as executors. On 10 November Reynolds wrote to Benjamin West to resign the presidency, but the General Assembly agreed he should be re-elected, with Sir William Chambers+ and West to deputise for him.McIntyre, pp. 524–525.
Sir Joshua Reynolds was on very many accounts one of the most memorable men of his Time. He was the first Englishman who added the praise of the eligant Arts to the other Glories of his Country. In Taste, in grace, in facility, in happy invention, and in the richness and Harmony of colouring, he was equal to the great masters of the renowned Ages. In Pourtrait he went beyond them; for he communicated to that description of the art, in which English artists are the most engaged a variety, a Fancy, and a dignity derived from the higher Branches, which even those who professed them a superior manner, did not always preserve when they delineated individual nature. His Purtraits remind the Spectator of the Invention of History, and the amenity of Landscape. In painting pourtraits, he appeared not to be raised upon that platform; but to descend to it from an higher sphere. his paintings illustrate his Lessons—and his Lessons seem to be derived from his Paintings.
He possessed the Theory as perfectly as the Practice of his Art. To be such a painter, he was a profound and penetrating Philosopher.
In full affluence of foreign and domestick Fame, admired by the expert in art, and by the learned in Science, courted by the great, caressed by Sovereign powers, and celebrated by distinguished Poets, his Native humility, modesty and Candour never forsook him, even on surprise or provocation, nor was the least degree of arrogance or assumption visible to the most scrutinizing eye, in any part of his Conduct or discourse.
His talents of every kind powerful from Nature, and not meanly cultivated by Letters, his social Virtues in all the relations, and all the habitudes of Life renderd him the center of a very great and unparalleled Variety of agreeable Societies, which will be dissipated by his Death. He had too much merit not to ex
|Joshua Reynolds+ Sir Joshua Reynolds PRA FRS FRSA (; 16 July 1723 – 23 February 1792) was an influential eighteenth-century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect.|