Portrait of Two Gentlemen
(National Gallery)
This picture was given to the National Galleryin 1866. The figure on the left is the RevGeo. Huddersford, who, before he took orders, studiedart with Sir Joshua. The other figure, withviolin in right hand, is J. C. W. Bamfylde. It isa representative picture enough, showing howclosely the painter observed his sitters and howcomplete and skilful was his characterisation.
THE CHARM
OF
REYNOLDS
By JAMES MASON
The Charm of Reynolds
Published by T. C. & E. C. Jack
London and Edinburgh
List of Illustrations
Portrait of Two Gentlemen ... Frontispiece
(National Gallery)
Nelly O'Brien
(Wallace Collection)
Age of Innocence
(National Gallery)
Duchess of Devonshire and Child
(Chatsworth)
The Charm of Reynolds
I. HIS ART AND CHARACTER
Portraits painted by Sir Joshua Reynoldsare a national asset, and appeal to the generalpublic in this light almost as strongly as theyappeal to the smaller section that takes adefinite interest in pictures. The value ofthe portraits varies considerably; it is probablethat the artist produced between four and fivethousand in his time, sometimes completingthree or four in a week for years on end, andeven in his more leisured times producingsix or seven per month, so it was of courseinevitable that their value should not beequal. The very early work painted inDevonshire is of little worth. Italy openedthe eyes of Joshua Reynolds as it has openedthe eyes of so many British artists since histime. Fortunate in his life the painter was;in a certain sense, unfortunate in his art. Thebeauty he has committed to canvas had begunto pass before the artist's days were numbered,and many of his most successful works areto-day no more than a pale reflection of theirformer selves, a remnant most forlorn ofwhat they were. One of his most painstakingbiographers and soundest critics, Sir WalterArmstrong, has written, "Speaking roughly,Sir Joshua's early pictures darken, the worksof his middle period fade, those of his latematurity crack."
"Despite these drawbacks, the painter'sposition is unassailable, for it appeals alike tothe historian, to the philosopher who looksto the outward semblance for reflection ofthe spirit behind the mask, and to the artistwho finds so much to delight him in thepoint of achievement to which Reynolds