Reynolds, Joshua (1723-1792)

A Discourse Delivered to the Students of the Royal Academy [Discourses on Art]

London

Printed by Thomas Cadell

December 10, 1788; 1789

"I think some apology may reasonably be made for his manner, without violating truth, or running any risk of poisoning the minds of the younger students, by propagating false criticism, for the sake of raising the character of a favorite artist."

I think some apology may reasonably be made for his manner, without violating truth, or running any risk of poisoning the minds of the younger students, by propagating false criticism, for the sake of raising the character of a favorite artist. It must be allowed that this hatching manner of Gainsborough, did very much contribute to the lightness of effect which is so eminent a beauty in his pictures; as on the contrary, much smoothness, and uniting the colours, is apt to produce heaviness. Every artist must have remarked, how often that lightness of hand, which was in his dead-colour, or first painting, escaped in the finishing, when he had determined the parts with more precision; and another loss he often experiences, which is of greater consequence; whilst he is employed in the detail, the effect of the whole together, is either forgot or neglected. The likeness of a portrait, for instance, consists more in preserving the general effect of the countenance, than in the most minute finishing of the features, or any of the particular parts. Now Gainsborough's portraits were often little more, in regard to finishing, or determining the forms of the features, than what generally attends a dead colour; but as he was always attentive to the general effect, or whole together, I have often imagined that this unfinished manner, contributed even to that striking resemblance for which his portraits are so remarkable. Though this opinion may be considered as fanciful, yet I think a plausible reason may be given, why such a mode of painting should have such an effect. It is presupposed that in this undetermined manner, there is the general effect; enough to remind the spectator of the original; the imagination supplies the rest, and perhaps more satisfactory to himself if not more exactly than the artist, with all his care, could have possibly done. At the same time it must be acknowledged there is one evil attending this mode; that if the portrait were seen, previous to any knowledge of the original, different people would form different ideas, and all would be disappointed at not finding the original correspond to their own conception; under the great latitude which indistinctness gives to the imagination, to assume almost what character or form it pleases.
(pp. 20-3)

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From 1769 to 1772 Reynolds' lectures were delivered annually, with each discourse published shortly after its delivery. After 1772, the lectures were delivered biennially. The first seven discourses were collected and published together in 1778. In 1797, the first collected edition of all fifteen appeared, with a second edition issued in 1798. See the ODNB.

Text from A Discourse, Delivered to the Students of the Royal Academy, on the Distribution of the Prizes, Dec. 10th, 1788, by the President. (London: Printed by Thomas Cadell, 1775). <Link to ECCO>

07/25/2013