British 1723-1792 Sir Joshua Reynolds Locations Reynolds was born in Plympton, Devon, on 16 July 1723. As one of eleven children, and the son of the village school-master, Reynolds was restricted to a formal education provided by his father. He exhibited a natural curiosity and, as a boy, came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Showing an early interest in art, Reynolds was apprenticed in 1740 to the fashionable portrait painter Thomas Hudson, with whom he remained until 1743. From 1749 to 1752, he spent over two years in Italy, where he studied the Old Masters and acquired a taste for the "Grand Style". Unfortunately, whilst in Rome, Reynolds suffered a severe cold which left him partially deaf and, as a result, he began to carry a small ear trumpet with which he is often pictured. From 1753 until the end of his life he lived in London, his talents gaining recognition soon after his arrival in France. Reynolds worked long hours in his studio, rarely taking a holiday. He was both gregarious and keenly intellectual, with a great number of friends from London's intelligentsia, numbered amongst whom were Dr Samuel Johnson, Oliver Goldsmith, Edmund Burke, Giuseppe Baretti, Henry Thrale, David Garrick and fellow artist Angelica Kauffmann. Because of his popularity as a portrait painter, Reynolds enjoyed constant interaction with the wealthy and famous men and women of the day, and it was he who first brought together the famous figures of "The" Club. With his rival Thomas Gainsborough, Reynolds was the dominant English portraitist of 'the Age of Johnson'. It is said that in his long life he painted as many as three thousand portraits. In 1789 he lost the sight of his left eye, which finally forced him into retirement. In 1791 James Boswell dedicated his Life of Samuel Johnson to Reynolds. Reynolds died on 23 February 1792 in his house in Leicester Fields, London. He is buried in St. Paul's Cathedral.  Related Paintings of Sir Joshua Reynolds :. | four learnes milordi | Portrait of Mrs Siddons as the Tragic Muse | Garrick Between Tragedy and Comedy | Portrait of James Bourdieu | giuseppe baretti |
Related Artists:
Francesco Monti
Italian Painter, 1685-1768 Italian painter and draughtsman. He was the son of a tailor who served the Este court in Modena during the 1690s. Monti studied with the foremost painter in Modena, Sigismondo Caula (b 1637), for three years from c. 1700. In 1703 he moved to Bologna and entered the studio of Giovanni Gioseffo dal Sole. Roli (1962) defined the formative influences on Monti's art as dal Sole and Donato Creti on the one hand, and Giuseppe Maria Crespi and Antonio Gionima on the other. Monti evolved a distinctive personal idiom, characterized by graceful figures reminiscent of the style of Parmigianino, but perhaps more directly inspired by the more extravagant late Mannerist idiom of such painters as Bartholomeus Spranger and Josef Heintz I of the court of Rudolf II at Prague. Monti may have known their work through prints by Aegidius Sadeler II, Jan Muller and others. This exotic figure style, with fluent, swaying forms and faces suggestively muted by half-shadow was accompanied by unusual shades of colour that glow richly in darkened settings. Monti's art contributed to a neo-Mannerist strain in 18th-century Emilian painting
Adriaen Coorte
(ca. 1665 - after 1707) was a Dutch Golden Age painter of still lifes, who signed works between 1683 and 1707. He painted small and unpretentious still lifes in a style more typical of the first half of the century, and was "one of the last practitioners of this intimate category". Very little is known of his life, but he is assumed to have been born and died in Middelburg. He became a pupil of Melchior d'Hondecoeter around 1680 in Amsterdam. From 1683 he seems to have returned to Middelburg, where he set up a workshop and signed his small, carefully balanced minimalist still lifes. He often painted on paper that was glued to a wooden panel. About 80 signed works by him have been catalogued, and nearly all of them follow the same pattern; small arrangements of fruits, vegetables, or shells on a stone slab, lit from above, with the dark background typical of still lifes earlier in the century. Instead of the Chinese or silver vessels favoured by his contemporaries, his tableware is very basic pottery. "Objects and light are studied intensely, and are painted with a wondrous tenderness".[1] Neither his birth nor death date is certain, and archival evidence only exists in Middelburg for his membership in the Guild of St. Luke there from 1695 onwards, when he was fined for selling a painting without being a member of the guild. His works appear frequently in contemporary Middelburg taxation inventories
Maria Vos
painted Stilleven met kan van steengoed in 1878