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Hallett, Mark

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Mark Hallett

Reynolds: Portraiture in Action

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Mark Hallett

PublisherPaul Mellon Centre

Stable URL: https://aaeportal.com/?id=-22325

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ONLINE RESOURCES

The Eighteenth-Century Collections Online database (ECCO), which supplies a searchable and remarkably comprehensive online record of eighteenth-century publications in English, provided an invaluable resource for my research. Similarly useful was the online database of graphic material from the British Museum’s Prints and Drawings Room.

NEWSPAPERS

This book makes extensive use of the newspapers of Reynolds’s day, which I consulted using the online version of the British Library’s Burney collection of newspapers. I have also drawn upon the extensive photocopied collection of newspaper exhibition reviews at the Paul Mellon Centre for Studies in British Art.

MANUSCRIPT SOURCES

References to the individual manuscript sources I have consulted in my research are found in the endnotes to this book.

PUBLICATIONS

Aglionby, William, Painting Illustrated in Three Diallogues, Containing Some Choice Observations upon the Art Together with the Lives of the Most Eminent Painters, from Cimabue, to the Time of Raphael and Michelangelo, London, 1685. A later edition of the Aglionby’s text was published under the shortened title Choice Observations upon the Art of Painting, London, 1719

Albinson, A. Cassandra, Peter Funnell and Lucy Peltz (eds), Thomas Lawrence: Regency Power and Brilliance, New Haven and London, 2010

Alexander, David, ‘The Dublin Group: Irish Mezzotint Engravers in London 1750–1775’, Quarterly Bulletin of the Irish Georgian Society, 16, 1973, 73–93

—, Mezzotints after Sir Joshua Reynolds (1723–92): A Selection from the Cooper Abbs Collection on Exhibition at the Treasurer’s House, York, York, 1977

—, and Richard Godfrey, Painters and Engraving: The Reproductive Print from Hogarth to Wilkie, New Haven and London, 1980

Allen, Brian, ‘Sir Joshua Reynolds’s Portrait of the 3rd Earl of Harrington’, in John Wilmerding (ed.), Essays in Honor of Paul Mellon: Collector and Benefactor, Washington, D.C., 1986

—, Francis Hayman, New Haven and London, 1987

—, ‘The Society of Arts and the First Exhibition of Contemporary Art in 1760’, RSA Journal, March 1991, 265–9

— (ed.), Towards a Modern Art World: Studies in British Art I, New Haven and London, 1995

—, and L. A. Dukselskaya (eds), British Art Treasures from Russian Imperial Collections in the Hermitage, New Haven and London, 1996

Annand, A. M., ‘The Prince of Wales (later George IV) 1783’, Journal of the Society for Army Historical Research, 48, 1970, 1–3

Anon., The Plan of an Academy for the Better Cultivation, Improvement and Encouragement of Painting, Sculpture, Architecture, and the Arts and Design in General, London, 1755

—, A Critical Review of the Pictures . . . Exhibited at the Great-Room in Spring Gardens, Charing Cross, London, 1765

—, A Critical Review of the Pictures . . . Exhibited at the Great-Room, Spring Gardens, Charing Cross, London, 1766

—, A Critical Examination of the Pictures, Sculptures . . . Exhibited in the Great-Room in Spring Gardens, Charing Cross, London, 1767

—, The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture etc, 2 vols, London, 1766

—, The Exhibition: or, A Candid Display of the Genius and Merits of the Several Masters, whose Works are now offered to the public, at Spring Gardens, London, 1766

—, The Conduct of the Royal Academicians, while Members of the Incorporated Society of Artists of Great Britain, London, 1771 [possibly by Robert Strange]

—, Observations on the Discourses Delivered at the Royal Academy, London, 1774

—, A Candid Review of the Exhibition (being the twelfth) of the Royal Academy, London, 1780

—, The Ear-Wig; or An Old Woman’s Remarks on the Present Exhibition of Pictures at the Royal Academy . . . Dedicated to Sir Joshua Reynolds, London, 1781

—, Observations on the Present State of the Royal Academy by an Old Artist, London, 1790 [possibly by James Northcote]

—, ‘Two Early Works of Sir Joshua Reynolds’, Walpole Society, 6, 1918, 105–10

Armstrong, Walter, Sir Joshua Reynolds, London, 1900

Ashley Cooper, Anthony, Earl of Shaftesbury, A Notion of the Historical Draught or Tablature of the Judgement of Hercules, London, 1713

—, Characteristics of Men, Manners, Opinions, Times, 3 vols, London, 1714

Asleson, Robyn (ed.), A Passion for Performance: Sarah Siddons and her Portraits, Los Angeles, 1999

—, Notorious Muse: The Actress in British Art and Culture, 1776–1812, New Haven and London, 2003

—, and Shelley M. Bennett (eds), British Paintings at the Huntington, New Haven and London, 2001

Aston, Nigel, ‘Lord Carysfort and Sir Joshua Reynolds: The Patron as Friend’, Gazette des Beaux-Arts, 112, November 1988, 205–10

Baetjer, Katharine, European Paintings in the Metropolitan Museum of Art: A Summary Catalogue, 3 vols, New York, 1980

—, British Paintings in the Metropolitan Museum of Art, 1575–1875, New Haven and London, 2009

Baker, Malcolm, ‘That “most rare Master Monsieur Le Gros” and his “Marsyas” ’, Burlington Magazine, 127, 1985, 702–6

—, Figured in Marble: The Making and Viewing of Eighteenth-Century Sculpture, London, 2000

Baker, R., Observations on the Present Exhibition at the Royal Academy, London, 1771

Baldry, A. L., Sir Joshua Reynolds, London, 1903

Balkan, Katherine S., ‘Sir Joshua Reynolds’s Theory and Practice of Portraiture: A Re-evaluation’, PhD thesis, University of California, Los Angeles, 1979

Bapasola, Jeri, Faces of Fame and Fortune: The Marlborough Family Portraits at Blenheim Palace, Woodstock, 2006

Baretti, Joseph, A Guide through the Royal Academy, London, 1781

Barnes, Susan J., et al., Van Dyck: A Complete Catalogue of the Paintings, New Haven and London, 2004

Barrell, John, The Political Theory of Painting from Reynolds to Hazlitt: ‘The Body of the Public’, New Haven and London, 1986

— (ed.), Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford and New York, 1992

Barrett, Katy, ‘An Argument in Paint: Reynolds and Garrick between Comedy and Tragedy’, Visual Culture in Britain, 13, no. 3, 2012, 283–302

Barringer, Tim, Geoff Quilley and Douglas Fordham (eds), Art and the British Empire, Manchester and New York, 2009

Beattie, James, London Diary 1773, ed. R. S. Walker, Aberdeen University Studies 122, Aberdeen, 1946

Beechey, H. W., ‘Memoir’ attached to The Literary Works of Sir Joshua Reynolds, 2 vols, London, 1835

Belsey, Hugh, ‘Some Artists’ Studios Described in 1785’, in Windows on that World: Essays on British Art Presented to Brian Allen, London, 2012

Bignamini, Ilaria, and Martin Postle, The Artist’s Model: Its Role in British Art from Lely to Etty, Nottingham, 1991

Bindman, David, Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century, London, 2002

—, and Malcolm Baker, Roubiliac and the Eighteenth-Century Monument: Sculpture as Theatre, New Haven and London, 1995

Bonehill, John, ‘Reynolds’s Portrait of Lieutenant-Colonel Banastre Tarleton and the Fashion for War’, British Journal for Eighteenth-Century Studies, 24, no. 2, 2001, 123–44

Boswell, James, The Life of Samuel Johnson, Everyman edn, New York, London and Toronto, [1791] 1992

Boulton, W. B., Sir Joshua Reynolds, London, 1905

Brewer, John, The Pleasures of the Imagination: English Culture in the Eighteenth Century, London, 1997

Bryant, Julius, Kenwood: Paintings in the Iveagh Bequest, New Haven and London, 2003

Burke, Edmund, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, London, 1757

Burke, Joseph, English Art 1714–1800, Oxford, 1976

Busch, Werner, ‘Hogarths and Reynolds’ portrats des Schausspielers Garrick’, Zeitschrift für Kunstgeschichte, 46, 1984, 82–99

Buttery, H., ‘Reynolds’s Painting Technique’, in D. Hudson, Sir Joshua Reynolds: A Personal Study, London, 1958

Campbell, Robert, The London Tradesman, London, 1747

Cannon-Brookes, P. (ed.), The Painted Word: British History Paintings, 1750–1830, London, 1991

Clayton, Timothy, The English Print, 1688–1802, London and New Haven, 1997

Clifford, James L., Hester Lynch Piozzi (Mrs Thrale), 2nd edn, Oxford, 1987

Clifford, Timothy, Antony Griffiths and Martin Royalton-Kisch (eds), Gainsborough and Reynolds in the British Museum, London, 1978

Coke, David, and Alan Borg, Vauxhall Gardens: A History, New Haven and London, 2011

Coleman, John, ‘Images of Assurance or Masks of Uncertainty: Joshua Reynolds and Anglo-Irish Ascendancy, 1746–1789’, MLitt thesis, Trinity College, Dublin, 1993

Colnaghi & Co., P. and D., The British Face: A View of Portraiture, 1625–1850, London, 1986

Coltman, Viccy, Fabricating the Antique: Neoclassicism in Britain, 1760–1800, Chicago and London, 2006

—, Classical Sculpture and the Culture of Collecting in Britain since 1760, Oxford, 2009

Combe, William, A Poetical Epistle to Sir Joshua Reynolds, Knt, London, 1777

Cormack, Malcolm, ‘The Ledgers of Sir Joshua Reynolds’, Walpole Society, 42, 1968–70, 105–69

Cotton, William, Sir Joshua Reynolds and his Works: Gleanings from his Diary, Unpublished Manuscripts, and from Other Sources, ed. J. Burnet, London, 1856

—, Sir Joshua Reynolds’s Notes and Observations on Pictures, London, 1859

Craske, Matthew, The Silent Rhetoric of the Body: A History of Monumental Sculpture and Commemorative Art in England, 1720–1770, New Haven and London, 2007

Crow, Thomas, Painters and Public Life in Eighteenth-Century Paris, New Haven and London, 1985

Crown, Patricia, ‘Edward Francis Burney and his Album of Sketches of Paintings Exhibited at the Royal Academy 1780–1784’, MA thesis, University of California, Los Angeles, 1972

—, ‘An Album of Sketches from the Royal Academy Exhibitions of 1780–1784’, Huntington Library Quarterly, 44, 1980–1, 61–6

—, Drawings by E. F. Burney in the Huntington Collection, San Marino, Calif., 1982

—, ‘Portraits and Fancy Pictures by Gainsborough and Reynolds: Contrasting Images of Childhood’, British Journal for Eighteenth-Century Studies, 7, 1984, 159–67

Dias, Rosie, Exhibiting Englishness: John Boydell’s Shakespeare Gallery and the Formation of a National Aesthetic, London and New Haven, 2013

D’Oench, Ellen, G., ‘Copper into Gold’: Prints by John Raphael Smith 1751–1812, New Haven and London, 1999

Donald, Diana, ‘ “Characters and Caricatures”: The Satirical View’, in Nicholas Penny (ed.), Reynolds, London, 1986, 355–63

Dorment, Richard, British Painting in the Philadelphia Museum of Art from the Seventeenth through the Nineteenth Century, London, 1986

Du Fresnoy, Charles Alphonse, De Arte Graphica. The Art of Painting, by C. A. Du Fresnoy. With Remarks. Translated into English, Together with an Original Preface containing a Parallel between Painting and Poetry. By Mr Dryden. As also a Short Account of the most Eminent Painters, both Ancient and Modern, continu’d down to the Present Times, according to the Order of their Succession. By Another Hand., London, 1695. The notes ‘by another hand’ were the work of Richard Graham. A second ‘Corrected, and Enlarg’d’ edition of The Art of Painting was republished in 1716

—, The Art of Painting of Charles Alphonse de Fresnoy, translated into English verse by William Mason M. A., with Annotations by Sir Joshua Reynolds, York, 1783

Edgcumbe, John, ‘Reynolds’s Earliest Drawings’, Burlington Magazine, 129, 1987, 724–6

Egerton, Judy, National Gallery Catalogues: The British School, London, 1998

—, George Stubbs, Painter: Catalogue Raisonné, New Haven and London, 2007

Einberg, Elizabeth, Manners and Morals: Hogarth and British Painting 1700–1760, London, 1987

Entick, John, The General History of the Late War, containing it’s Rise, Progress and Event, in Europe, Asia, Africa and America, 3rd edn, 5 vols, London, 1766

Farington, Joseph, Memoirs of Sir Joshua Reynolds, London, [1819] 2005

Fletcher, E. (ed.), Conversations of James Northcote R. A. with James Ward on Art and Artists, London, 1901

Fordham, Douglas, British Art and the Seven Years’ War, Philadelphia and London, 2010

Foreman, Amanda, Georgiana, Duchess of Devonshire, New York, 1988

Galt, John, The Life, Studies and Works of Benjamin West, London, 1820

Garlick, Kenneth, Sir Thomas Lawrence, Oxford, 1989

Gibson-Wood, Carol, Jonathan Richardson: Art Theorist of the English Enlightenment, London and New Haven, 2000

Girouard, Mark, Life in the English Country House: A Social and Architectural History, New Haven and London, 1978

Godfrey, Richard, Printmaking in Britain, Oxford, 1978

—, James Gillray: The Art of Caricature, London, 2001

Goler, R. I., ‘An Early Reynolds Re-discovered’, Burlington Magazine, 129, 1987, 727–8

Gombrich, E. H., ‘Reynolds’s Theory and Practice of Imitation’, Burlington Magazine, 80, 1942, 40–5; reprinted in Norm and Form, London, 1966

Goodwin, G., James McArdell, London, 1903

Graves, Algernon, The Royal Academy of Arts: A Complete Dictionary of Contributors and their Work from its Foundation in 1769 to 1904, 8 vols, London, 1905–6

—, and William V. Cronin, A History of the Works of Sir Joshua Reynolds, 4 vols, London, 1899–1901

Guest, Harriet, ‘Curiously Marked: Tattooing, Masculinity, and Nationality in Eighteenth-Century British Perceptions of the South Pacific’, in John Barrell (ed.), Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford and New York, 1992

Gwynn, John, London and Westminster Improved, London, 1766

Hackney, Stephen, Rica Jones and Joyce Townsend (eds), Paint and Purpose: A Study of Technique in British Art, London, 1999

Hallett, Mark, Hogarth, London, 2000

—, ‘ “The Business of Criticism”: The Press and the Royal Academy Exhibition in Eighteenth-Century London’, in David H. Solkin (ed.), Art on the line: The Royal Academy Exhibitions at Somerset House 1780–1836, New Haven and London, 2001

—, ‘From Out of the Shadows: Sir Joshua Reynolds’ Captain Robert Orme’, Visual Culture in Britain, 5, no. 2, 2004, 41–62

—, ‘Reading the Walls: Pictorial Dialogue at the British Royal Academy’, British Journal for Eighteenth-Century Studies, 37, no. 4, 2004, 581–604

—, ‘Reynolds, Celebrity and the Exhibition Space’, in Martin Postle (ed.), Joshua Reynolds: The Creation of Celebrity, London, 2005

—, ‘A Monument to Intimacy: Joshua Reynolds’s The Marlborough Family’, Art History, 31, no. 5, 2008, 691–720

—, Faces in a Library: Sir Joshua Reynolds’s ‘Streatham Worthies’ (The Watson Gordon Lecture 2011), Edinburgh, 2012

—, ‘The Academy Quartet: Joshua Reynolds in 1769’, in Sarah Monks, John Barrell and Mark Hallett (eds), Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, London, 2013

—, and Christine Riding, Hogarth, London, 2006

Hargraves, Matthew, Candidates for Fame: The Society of Artists of Great Britain, 1760–1791, New Haven and London, 2005

Haskell, Francis, and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture 1500–1900, New Haven and London, 1981

Hayes, John, Gainsborough, Oxford, 1975

— (ed.), The Letters of Thomas Gainsborough, New Haven and London, 2001

Hazlitt, William, Conversations of James Northcote, Esq. R.A., London 1830, ed. Edmund Gosse, London, 1894

Herrmann, Luke, ‘The Drawings by Sir Joshua Reynolds in the Hershel Album’, Burlington Magazine, 110, 1968, 650–8

W. Hilles, Frederick, Letters of Sir Joshua Reynolds, Cambridge, 1929

—, The Literary Career of Sir Joshua Reynolds, Cambridge, 1936

—, Portraits by Sir Joshua Reynolds (Yale Edition of the Private Papers of James Boswell), Melbourne, London and Toronto, 1952

Hoock, Holger, The King’s Artists: The Royal Academy of Arts and the Politics of British Culture, 1760–1840, Oxford, 2003

Hudson, Derek, Sir Joshua Reynolds: A Personal Study, London, 1958

Hume, David, Essays, Moral and Political, 2 vols, Edinburgh, 1742

Hutchison, Sydney, C., The History of the Royal Academy, 1768–1968, London, 1968

Hyde, Mary, ‘The Library Portraits at Streatham Park’, New Rambler (Johnson Society of London), 1979, 10–24

Ingamells, John, Mrs Robinson and her Portraits, Wallace Collection Monographs I, London, 1978

—, The English Episcopal Portrait 1559–1835, London, 1981

—, A Dictionary of British and Irish Travellers in Italy, 1701–1800: Compiled from the Brinsley Ford Archive, New Haven and London, 1997

—, National Portrait Gallery: Mid-Georgian Portraits, 1760–1790, London, 2004

—, and John Edgcumbe (eds), The Letters of Sir Joshua Reynolds, New Haven and London, 2000

Jackson-Stops, Gervase, The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting, Washington, D.C., 1985

Johnson, Edward Mead, Francis Cotes: Complete Edition, Oxford, 1976

Johnson, Samuel, The Rambler, 2nd edn, 8 vols, Edinburgh, 1751

Jones, Robert W., ‘ “Such Strange Unwonted Softness to Excuse”: Judgement and Indulgence in Sir Joshua Reynolds’s Portrait of Elizabeth Gunning, Duchess of Hamilton and Argyll’, Oxford Art Journal, 18, no. 1, 1995, 29–43

Joppien, Rüdiger, ‘Philippe Jacques de Loutherbourg’s Pantomime “Omai, or a Trip round the World” and the Artists of Captain Cook’s Voyages’, British Museum Yearbook, 1979, 81–136

Kelly, Jason M., The Society of Dilettanti: Archaeology and Identity in the British Enlightenment, New Haven and London, 2009

Kerslake, John, National Portrait Gallery: Early Georgian Portraits, 2 vols, London, 1977

Kidson, Alex, ‘Reynolds and Romney: The Anatomy of a Rivalry’, Transactions of the Romney Society, 1, 1996, 4–7

—, Earlier British Paintings in the Lady Lever Art Gallery, Liverpool, 1999

—, George Romney, 1734–1802, London, 2002

—, Earlier British Paintings in the Walker Art Gallery and Sudley House, Liverpool, 2012

— (ed.), Those Delightful Regions of Imagination: Essays on George Romney, New Haven and London, 2002

Lennox-Boyd, Christopher, Guy Shaw and Sarah Halliwell, Theatre: The Age of Garrick; English Mezzotints from the Collection of the Hon. Christopher Lennox-Boyd, London, 1994

Leslie, Charles Robert, and Tom Taylor, Life and Times of Sir Joshua Reynolds, 2 vols, London, 1865

Levey, Michael, Sir Thomas Lawrence, New Haven and London, 2005

Lipking, Lawrence, The Ordering of the Arts in Eighteenth-Century England, Princeton, 1970

Lippincott, Louise, Selling Art in Georgian London: The Rise of Arthur Pond, New Haven and London, 1983

Lloyd, Christopher, Gainsborough and Reynolds: Contrasts in Royal Patronage, London, 1994

McIntyre, Ian, Joshua Reynolds: The Life and Times of the First President of the Royal Academy, London, 2003

Malone, Edmond (ed.), The Works of Sir Joshua Reynolds Knight, to which is prefixed an account of the life and writings of the author (2nd edition), 3 vols, London, 1798

Mannings, David, ‘Reynolds and the Restoration Portrait’, Connoisseur, 183, 1973, 186–93

—, ‘The Sources and Development of Reynolds’s Pre-Italian Style’, Burlington Magazine, 117, 1975, 210, 212–23

—, ‘Two More Pre-Italian Portraits by Reynolds’, Burlington Magazine, 118, 1976, 590–3

—, ‘Reynolds, Garrick and the Choice of Hercules’, Eighteenth-Century Studies, 17, spring, 1984, 259–83

—, ‘Reynolds, Hogarth and Van Dyck’, Burlington Magazine, 126, 1984, 689–90

—, ‘Shaftesbury, Reynolds and the Recovery of Portrait-Painting in 18th-Century England’, Zeitschrift für Kunstgeschichte, 48, 1985, 319–28

—, ‘Reynolds’s Oil Sketches’, Burlington Magazine, 133, 1991, 491–8

—, Sir Joshua Reynolds PRA (1723–1792): The Self Portraits, Plymouth, 1992

—, Sir Joshua Reynolds: A Complete Catalogue of his Paintings (The Subject Paintings Catalogued by Martin Postle), 2 vols (text and plates), New Haven and London, 2000

—, ‘Reynolds in Venice’, Burlington Magazine, 148, 2006, 754–63

—, and Nicholas Penny, ‘Arising from the Reynolds Exhibition’, Burlington Magazine, 128, 1986, 760–2

Merz, J. M., ‘Reynolds’s Borrowings’, Burlington Magazine, 137, 1995, 516–17

Meyer, A., ‘Re-dressing Classical Statuary: The Eighteenth-Century “Hand-in-Waistcoat” Portrait’, Art Bulletin, 77, March 1995, 45–63

Miles, Ellen, and Jacob Simon, Thomas Hudson 1701–1779: Portrait Painter and Collector, London, 1979

Millar, Oliver, The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen, 2 vols, London, 1963

—, The Later Georgian Pictures in the Collection of Her Majesty the Queen, 2 vols, London, 1969

Miller, James, The Catalogue of Paintings at Bowood House, Bowood, 1992

Mitchell, Charles, ‘Benjamin West’s “Death of General Wolfe” and the Popular History Piece’, Journal of the Warburg and Courtauld Institutes, 7, 1938, 20–33

—, ‘Three Phases of Reynolds’s Method’, Burlington Magazine, 80, 1942, 35–40

Moore, Andrew, and Charlotte Crawley, Family and Friends: A Regional Survey of British Portraiture, London, 1992

Mount, Harry, ‘Reynolds, Chiaroscuro and Composition’, in F. Quiviger and P. Taylor (eds), Pictorial Composition, London, 2000, 172–97

—, (ed.), Sir Joshua Reynolds’ A Journey to Flanders and Holland, Cambridge, 1996

Mullan, John, Sentiment and Sociability: The Language of Feeling in the Eighteenth Century, Oxford, 1988

Murray, Peter, ‘The Sources of Reynolds’s “Triumph of Truth” ’, Aberdeen University Review, 30, 1944, 227–9

Myrone, Martin, Henry Fuseli, London, 2001

—, BodyBuilding: Reforming Masculinities in British Art 1750–1810, New Haven and London, 2005

—, Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, London, 2006

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Nivelon, Francis (François), The Rudiments of Genteel Behaviour, London, 1737

Northcote, James, Memoirs of Joshua Reynolds, London, 1813

—, Supplement to the Memoirs of the Life, Writings, Discourses, and Professional Works of Sir Joshua Reynolds, Knt, London, 1815

—, The Life of Sir Joshua Reynolds, 2nd edn, 2 vols, London, 1819

O’Connell, Sheila, London 1753, London, 2003

O’Connor, Cynthia, ‘The Parody of the School of Athens: The Irish Connection’, Bulletin of the Irish Georgian Society, 26, 1983, 3–22

O’Malley, L., and C. H. Collins Baker, ‘Reynolds’s First Portrait of Keppel’, Walpole Society, 1, 1911–12, 77–84

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Pasquin, Anthony, Memoirs of the Royal Academicians, London, 1796

Paulson, Ronald, Emblem and Expression, London, 1975

—, Hogarth, 3 vols, Cambridge, 1991–3

Penny, Nicholas (ed.), Reynolds, London, 1986

—, with the assistance of M. Gregory, ‘Reynolds and Picture Frames’, Burlington Magazine, 128, 1986, 810–25

—, and David Mannings, ‘Arising from the Reynolds Exhibition’, Burlington Magazine, 128, 1986, 760–2

Perini, Giovanna, ‘Sir Joshua Reynolds and Italian Art and Art Literature: A Study of the Sketchbooks in the British Museum and in Sir John Soane’s Museum’, Journal of the Warburg and Courtauld Institutes, 51, 1988, 141–68

—, ‘On Reynolds’s Art of Borrowing: Two More Italian Sources’, Burlington Magazine, 136, 1994, 26–9

Perry, Gill, ‘Women in Disguise: Likeness, the Grand Style and the Conventions of “Feminine” Portraiture in the Work of Sir Joshua Reynolds’, in Gill Perry and Michael Rossington (eds), Femininity and Masculinity in Eighteenth-Century Art and Culture, Manchester, 1994

—, ‘Ambiguity and Desire: Metaphors of Sexuality in Late Eighteenth-Century Representations of the Actress’, in Robyn Asleson (ed.), Notorious Muse: The Actress in British Art and Culture, 1776–1812, New Haven and London, 2003

—, Spectacular Flirtations: Viewing the Actress in British Art and Theatre, 1768–1820, New Haven and London, 2007

Pevsner, Nikolaus, Academies of Art, Past and Present, Cambridge, 1940

Phillips, Claude, Sir Joshua Reynolds, London, 1894

Piozzi, Hester, Thraliana: The Diary of Mrs Hester Lynch Thrale (later Mrs Piozzi), ed. Katharine Balderston, 2 vols, Oxford, 1951

Piper, David, The English Face, London, 1957

—, ‘The Development of the British Literary Portrait up to Samuel Johnson’, Proceedings of the British Academy, 54, 1970, 51–72

—, ‘The Chesterfield House Library Portraits’, in René Wellek and Álvaro Ribeiro (eds), Evidence in Literary Scholarship: Essays in Memory of James Marshall Osborn, Oxford, 1979

Pointon, Marcia, ‘Portrait Painting as a Business Enterprise in London in the 1780s’, Art History, 7, 1984, 187–205

—, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, New Haven and London, 1993

—, ‘Graces, Bacchantes and “Plain Folks”: Order and Excess in Reynolds’s Female Portraits’, British Journal for Eighteenth-Century Studies, 17, 1994, 1–26

—, Strategies for Showing: Women, Possession and Representation in English Visual Culture, 1685–1800, Oxford, 1997

—, ‘The Lives of Kitty Fisher’, British Journal for Eighteenth-Century Studies, 27, 1, 2004, 77–98

Postle, Martin, ‘Patriarchs, Prophets, and Paviours: Reynolds’s Images of Old Age’, Burlington Magazine, 130, 1988, 735–44

—, ‘Reynolds, Shaftesbury, Van Dyck and Dobson: Sources for “Garrick between Tragedy and Comedy” ’, Apollo, 132, 1990, 306–11

—, ‘The St. Martin’s Lane Academy: True and False Records’, Apollo, 134, 1991, 33–8

—, ‘A Taste for History: Reynolds, West, George III, and George IV’, Apollo, 138, 1993, 186–91

—, ‘Reynolds’s Portraits at Waddesdon Manor: Painting for Posterity’, Apollo, 139, 1994, 19–24

—, ‘An Early Unpublished Letter by Sir Joshua Reynolds’, Apollo, 141, June 1995, 11–18

—, Sir Joshua Reynolds: The Subject Pictures, Cambridge, 1995

—, ‘Sir Joshua Reynolds, Edmund Burke, and the Grand Whiggery’, in Elise Goodman (ed.), Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives, Newark and London, 2001, 106–24

—, ‘ “Painted Women”: Reynolds and the Cult of the Courtesan’, in Robyn Asleson (ed.), Notorious Muse: The Actress in British Art and Culture, 1776–1812, New Haven and London, 2003, 22–55

— (ed.), Joshua Reynolds: The Creation of Celebrity, London, 2005

— (ed.), Johan Zoffany RA: Society Observed, New Haven and London, 2011

—, ‘ “That Titian of our Times”: Sir Joshua Reynolds and the “Divine Titian” ’, in Peter Humfrey (ed.), The Reception of Titian in Britain: From Reynolds to Ruskin, Turnhout, Belgium, 2013, 25–40

Potterton, Homan, Reynolds and Gainsborough, London, 1976

—, ‘Reynolds’s Portrait of Captain Robert Orme in the National Gallery’, Burlington Magazine, 118, 1976, 106

Prochno, Renate, Joshua Reynolds, Weinheim, 1990

—, ‘Nationalism in British Eighteenth-Century Painting: Sir Joshua Reynolds and Benjamin West’, in Richard A. Etlin (ed.), Nationalism in the Visual Arts, Washington, D.C., 1991

Pye, John, Patronage of British Art, London, 1845

Rauser, Amelia, ‘The Butcher-Kissing Duchess of Devonshire: Between Caricature and Allegory in 1784’, Eighteenth-Century Studies, 36, no. 1, 2002, 23–46

Retford, Kate, ‘Reynolds’s Portrait of Mrs Theresa Parker: A Case Study in Context’, British Art Journal, 4, no. 3, 2003, 80–6

—, The Art of Domestic Life: Family Portraiture in Eighteenth-Century England, New Haven and London, 2006

Ribeiro, Aileen, ‘Hussars in Masqurade’, Apollo, 105, 1977, 111–16

—, ‘Some Evidence of the Influence of the Dress of the Seventeenth Century on Costume in Eighteenth-Century Female Portraiture’, Burlington Magazine, 119, 1977, 834–40

—, A Visual History of Costume: The Eighteenth Century, London, 1983

—, Dress in Eighteenth-Century Europe, 1715–1789, London, 1984

—, The Dress Worn in Masquerades in England, 1730–1790, and its Relation to Fancy Dress in Portraiture, New York, 1984

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