He also developed a new type of portrait, one that was integrated into the landscape. During the 1770s and 1780s, Gainsborough began to experiment with printmaking, specifically, aquatint and soft ground etching. In 1769, he began submitting works to the Royal Academy of Arts (RA), an organization which he had help found. In his early thirties, he studied portraits by van Dyck. For five years, he was trained by Francis Hayman, an English designer and portraitist and Hubert Francois Gravelot, a painter, illustrator, and engraver. Gainsborough was a portraitist and landscape painter.Īt the age of fourteen, Gainsborough left home to study art. He was the leading English portraitist of the eighteenth century. In 1769, Reynolds was knighted by King George III, only the second artist to be so honored. Although not a commissioned piece, Age of Innocence is one of Reynold’s most famous paintings of a child. In addition he painted portraits of children. The demands of the age forced Reynolds to devote himself to principally painting portraits of the rich, influential, and famous, but he also managed to delve into Fancy Pictures, a sub-genre of genre painting featuring scenes of everyday life but with an imaginative or storytelling element. He attempted to lead British painting away from the indigenous anecdotal pictures of the early eighteenth century toward the formal rhetoric of the continental Grand Style. These speeches emphasized set rules of taste, importance of authority, and necessity for an artist to study the recognized masterpieces of art during his formative years. He distinguished himself via his groundbreaking speeches called Discourses on Art, which were put in print and are still relevant today. Reynolds help found the Royal Academy of Arts (RA) and became its first president. His clientele consisted mainly of aristocrats. Upon completion, he established himself in London and because of his aristocratic connections, he became an immediate success. After four years, he spent two years in Rome studying the old Masters. Reynolds was a portrait painter in the continental Grand Style.Īt an early age, Reynolds was apprenticed to Thomas Hudson, a successful London portrait painter. He has been heralded as having a keen understanding of human nature and as the most significant English artist of his day. His book, Analysis of Beauty, argued that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty. Hogarth helped develop a theoretical foundation for Rococo beauty. These ‘moralizing’ series are regarded as important historical and social documents. The paintings, carefully composed as any Italian painting of the classical tradition, are filled with detail and allusions to each other, so that the viewer has the sensation of reading a story without words. His most notable paintings, The Harlot’s Progress, The Rake’s Progress, and Marriage a la Mode teach by example, pointing out the foibles of the rich and the depths of degradation of those who have fallen from the narrow path of middle-class virtue. He is best known for his series of paintings of ‘modern moral subjects’. He decided to create a new type of painting that would appeal to his countrymen. Hogarth rejected this view and believed that his work was just as good as those works being bought for substantial amounts from abroad. Hogarth was a printmaker, portrait painter, social critic, and editorial cartoonist.Īristocratic art collectors did not respect English painters and sought works by Italian masters.
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