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72 pages

English

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In the past, the distinctions between art and science weren't as clear-cut as they are today, and philosophers, researchers, and artists often shared insights and ideas. It was in that heady atmosphere that Sir Joshua Reynolds first rose to prominence, initially through his "Grand Style" paintings, but later for his work as a promoter of scientific research and the president and co-founder of the famed Royal Society. This text outlines some of Reynolds' most groundbreaking ideas about art, scholarship, and the intersection between the two.

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Publié par	The Floating Press
Date de parution	01 janvier 2009
Nombre de lectures	0
EAN13	9781877527326
Langue	English

Informations légales : prix de location à la page 0,0230€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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SEVEN DISCOURSES ON ART
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SIR JOSHUA REYNOLDS

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Seven Discourses on Art From a 1901 edition.
ISBN 978-1-877527-32-6
© 2008 THE FLOATING PRESS.
While every effort has been used to ensure the accuracy and reliability of the information contained in The Floating Press edition of this book, The Floating Press does not assume liability or responsibility for any errors or omissions in this book. The Floating Press does not accept responsibility for loss suffered as a result of reliance upon the accuracy or currency of information contained in this book. Do not use while operating a motor vehicle or heavy equipment. Many suitcases look alike.
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Contents
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Introduction To the King To the Members of the Royal Academy I - A Discourse II - A Discourse III - A Discourse IV - A Discourse V - A Discourse VI - A Discourse VII - A Discourse
Introduction
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It is a happy memory that associates the foundation of our Royal Academywith the delivery of these inaugural discourses by Sir Joshua Reynolds,on the opening of the schools, and at the first annual meetings for thedistribution of its prizes. They laid down principles of art from thepoint of view of a man of genius who had made his power felt, and withthe clear good sense which is the foundation of all work that looksupward and may hope to live. The truths here expressed concerning Artmay, with slight adjustment of the way of thought, be applied toLiterature or to any exercise of the best powers of mind for shaping thedelights that raise us to the larger sense of life. In his separation ofthe utterance of whole truths from insistance upon accidents of detail,Reynolds was right, because he guarded the expression of his view withcareful definitions of its limits. In the same way Boileau was right, asa critic of Literature, in demanding everywhere good sense, in condemningthe paste brilliants of a style then in decay, and fixing attention uponthe masterly simplicity of Roman poets in the time of Augustus. Criticsby rule of thumb reduced the principles clearly defined by Boileau to adull convention, against which there came in course of time a strongreaction. In like manner the teaching of Reynolds was applied by dullmen to much vague and conventional generalisation in the name of dignity.Nevertheless, Reynolds taught essential truths of Art. The principleslaid down by him will never fail to give strength to the right artist, ortrue guidance towards the appreciation of good art, though here and therewe may not wholly assent to some passing application of them, where thedifference may be great between a fashion of thought in his time and inours. A righteous enforcement of exact truth in our day has led manyinto a readiness to appreciate more really the minute imitation of asatin dress, or a red herring, than the noblest figure in the best ofRaffaelle's cartoons. Much good should come of the diffusion of thiswise little book.
Joshua Reynolds was born on the 15th of July, 1723, the son of aclergyman and schoolmaster, at Plympton in Devonshire. His bent for Artwas clear and strong from his childhood. In 1741 at the age of nineteen,he began study, and studied for two yours in London under Thomas Hudson,a successful portrait painter. Then he went back to Devonshire andpainted portraits, aided for some time in his education by attention tothe work of William Gandy of Exeter. When twenty-six years old, in May,1749, Reynolds was taken away by Captain Keppel to the Mediterranean, andbrought into contact with the works of the great painters of Italy. Hestayed two years in Rome, and in accordance with the principlesafterwards laid down in these lectures, he refused, when in Rome,commissions for copying, and gave his mind to minute observation of theart of the great masters by whose works he was surrounded. He spent twomonths in Florence, six weeks in Venice, a few days in Bologna and Parma."If," he said, "I had never seen any of the fine works of Correggio, Ishould never, perhaps, have remarked in Nature the expression which Ifind in one of his pieces; or if I had remarked it, I might have thoughtit too difficult, or perhaps impossible to execute."
In 1753 Reynolds came back to England, and stayed three months inDevonshire before setting up a studio in London, in St. Martin's Lane,which was then an artists' quarter. His success was rapid. In 1755 hehad one hundred and twenty-five sitters. Samuel Johnson found in him hismost congenial friend. He moved to Newport Street, and he built himselfa studio—where there is now an auction room—at 47, Lincoln's InnFields. There he remained for life.
In 1760 the artists opened, in a room lent by the Society of Arts, a freeExhibition for the sale of their works. This was continued the next yearat Spring Gardens, with a charge of a shilling for admission. In 1765they obtained a charter of incorporation, and in 1768 the King gave hissupport to the foundation of a Royal Academy of Arts by seceders from thepreceding "Incorporated Society of Artists," into which personal feelingshad brought much division. It was to consist, like the French Academy,of forty members, and was to maintain Schools open to all students ofgood character who could give evidence that they had fully learnt therudiments of Art. The foundation by the King dates from the 10th ofDecember, 1768. The Schools were opened on the 2nd of January nextfollowing, and on that occasion Joshua Reynolds, who had been electedPresident—his age was then between forty-five and forty-six—gave theInaugural Address which formed the first of these Seven Discourses. Theother six were given by him, as President, at the next six annualmeetings: and they were all shaped to form, when collected into a volume,a coherent body of good counsel upon the foundations of the painter'sart.
H. M.
To the King
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The regular progress of cultivated life is from necessaries toaccommodations, from accommodations to ornaments. By your illustriouspredecessors were established marts for manufactures, and colleges forscience; but for the arts of elegance, those arts by which manufacturesare embellished and science is refined, to found an academy was reservedfor your Majesty.
Had such patronage been without effect, there had been reason to believethat nature had, by some insurmountable impediment, obstructed ourproficiency; but the annual improvement of the exhibitions which yourMajesty has been pleased to encourage shows that only encouragement hadbeen wanting.
To give advice to those who are contending for royal liberality has beenfor some years the duty of my station in the Academy; and theseDiscourses hope for your Majesty's acceptance as well-intended endeavoursto incite that emulation which your notice has kindled, and direct thosestudies which your bounty has rewarded.
May it please your Majesty,Your Majesty'sMost dutiful servant,And most faithful subject,JOSHUA REYNOLDS.
To the Members of the Royal Academy
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Gentlemen,—That you have ordered the publication of this Discourse isnot only very flattering to me, as it implies your approbation of themethod of study which I have recommended; but likewise, as this methodreceives from that act such an additional weight and authority as demandsfrom the students that deference and respect, which can be due only tothe united sense of so considerable a body of artists.
I am,With the greatest esteem and respect,GENTLEMEN,Your most humbleAnd obedient servant,JOSHUA REYNOLDS
I - A Discourse
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Delivered at the Opening of the Royal Academy, January 2nd, 1769, by thePresident.
Gentlemen,—An academy in which the polite arts may be regularlycultivated is at last opened among us by royal munificence. This mustappear an event in the highest degree interesting, not only to theartists, but to the whole nation.
It is indeed difficult to give any other reason why an Empire like thatof Britain should so long have wanted an ornament so suitable to itsgreatness than that slow progression of things which naturally makeselegance and refinement the last effect of opulence and power.
An institution like this has often been recommended upon considerationsmerely mercantile. But an academy founded upon such principles can nevereffect even its own narrow purposes. If it has an origin no higher, notaste can ever be formed in it which can be useful even in manufactures;but if the higher arts of design flourish, these inferior ends will beanswered of course.
We are happy in having a prince who has conceived the design of such aninstitution, according to its true dignity, and promotes the arts, as thehead of a great, a learned, a polite, and a commercial nation; and I cannow congratulate you, gentlemen, on the accomplishment of your long andardent wishes.
The numberless and ineffectual consultations that I have had with many inthis assembly, to form plans and concert schemes for an academy, afford asufficient proof of the impossibility of succeeding but by the influenceof Majesty. But there have, perhaps, been times when even the influenceof Majesty would have been ineffectual, and it is pleasing to reflectthat we are thus embodied, when every circumstance seems to concur fromwhich honour and prosperity can probably arise.
There are at this time a greater number of excellent artists than wereever known before at one period in this nation; there is a general desireamong our nobility to be distinguished as lovers and judges of the arts;there is a greater superfluity of wealth among the people to reward theprofessors; and, above all, we are patronised by a monarch, who, knowingthe value of science and of elegance, thinks every art worthy of hisnotice that tends to soften and humanise the mind.
After so much has been done by his Majesty, it will be wholly our faultif our progress is not in some degree correspondent to the wisdom and,generosity of the institution; let us show our gratitude in ourdiligence, that, though our merit may not answer his exp