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• 1 2016-03-16T18:44:55-07:00 Home and abroad, 1780-1785 3 plain 2018-06-21T17:10:32-07:00 In 1780 Reynolds painted several works for the Royal Academy's private rooms at Somerset House, recently completed by Sir William Chambers. They included an allegorical figure, Theory, for the library ceiling, pendant portraits of George III and Queen Charlotte, and portraits of himself and Chambers for the academy's assembly room. At the annual exhibition of 1780 he showed seven works, including a striking full length of Lady Worsley in military riding attire (priv. coll.), a portrait of Edward Gibbon (priv. coll.), and an allegorical figure, Justice (priv. coll.). This last painting was one of seven Virtues made as designs for a painted glass window, the west window of New College, Oxford. The central design, a Nativity, had been exhibited at the Royal Academy the previous year, although the window itself was not completely installed until 1785. The final result, as Reynolds himself admitted, was disappointing.
  
  In 1781 Reynolds exhibited fifteen works at the Royal Academy. They included a portrait of Charles Burney (NPG), Horace Walpole's nieces, the ladies Waldegrave (NG Scot.), and his young godson, Henry Edward Bunbury (Philadelphia Museum of Art). This picture remained in Reynolds's collection until his death when he bequeathed it to the boy's mother, his close friend Catherine Horneck. The portrait was described in the contemporary press as that of a boy ‘supposed to be listening to a wonderful story’, a comment which reflected Bunbury's own recollections that Reynolds had entertained him with fairy tales while sitting for the portrait (Whitley, 1.369). That year Reynolds also exhibited two major subject pictures, Thaïs (priv. coll.), modelled upon a notorious courtesan, Emily Pott, and The Death of Dido (Royal Collection), a composition inspired by his admiration for seventeenth-century Bolognese art and the antique (the central figure being an adaptation of a classical figure of Cleopatra in the Vatican).
  
  During the 1780s Reynolds turned increasingly for inspiration to the art of Flanders and the Low Countries, an interest which prompted a two-month tour in the late summer of 1781. Accompanied by his Devon friend Phillip Metcalfe, Reynolds embarked from Margate to Ostend on 24 July, travelling to Ghent, Brussels, Mechelen, Antwerp, Dordrecht, The Hague, Leiden, Amsterdam, Utrecht, Düsseldorf, Cologne, Aachen, Liège, and Louvain, and returning via Brussels and Ostend. Reynolds was already well acquainted with Dutch and Flemish art, owning major works by Van Dyck, Rubens, Jordaens, and Rembrandt, genre paintings by ‘old Breughel’ and Teniers, and landscapes by Cuyp, Hobbema, Ruisdael, and van Goyen. Reynolds's detailed journal entries, which were intended ultimately for publication, reveal that the tour was organized around major private collections in the Low Countries and the great altarpieces of Flanders. Reynolds admired Dutch art, but its appeal was confined primarily to ‘the mechanical parts of the art’. ‘Painters’, he said, ‘should go to the Dutch school to learn the art of painting, as they would go to a grammar school to learn languages. They must go to Italy to learn the higher branches of knowledge’ (Reynolds, Journey, 110). He was unmoved by Rembrandt's Nightwatch, confessing that it was ‘with difficulty I could persuade myself that it was painted by Rembrandt’ (ibid., 91). He attributed it tentatively to Ferdinand Bol. Reynolds was less ambivalent about Rubens, whose art conformed more closely to his own tenets on the form and function of high art, and to the Italianate ideal, which remained his benchmark. He reserved his highest praise for Rubens's Conversion of St Bavo in St Bavo's Cathedral, Ghent, and his Virgin and Child with Saints in the Augustinuskerk, Antwerp. Even so, he was disturbed by the poor condition of many of these works which he had only known previously through engravings, observing sadly that the Descent from the Cross in Antwerp Cathedral was ‘chilled and mildewed’ (ibid., 31).
  
  Reynolds went to Flanders once more in late July 1785, this time with the specific intention of purchasing pictures auctioned off by those religious houses and monasteries dissolved by the Holy Roman emperor, Joseph II. As a potential purchaser, Reynolds was deeply disappointed by the standard of work on offer, and bought nothing. However, in order that the visit would not be a complete waste of time he rapidly scoured the country, spending over £1000 in Antwerp on works by Rubens, Van Dyck, Snyders, and Murillo.
  
  During the 1780s Reynolds made some headway in preparing notes from his journeys to Flanders and the Low Countries for publication, although they did not appear in print until after his death, when they were incorporated into the second volume of Malone's Works of Sir Joshua Reynolds. In 1783, however, Reynolds published a related piece of work, annotations to William Mason's translation of De arte graphica, Charles Alfonse Du Fresnoy's Latin poem of 1667 on colour theory. The timing was significant because, following his visit to Flanders, Reynolds was eager to express his current opinions on the primacy of colour. Less dogmatic than the Discourses, Reynolds's annotations on Du Fresnoy allowed him to make extensive comments on the art of Titian, Veronese, Watteau, and Rubens without qualifying his remarks with reference to the Roman school. The lessons learned from an intense study of Flemish art emerged forcibly in Reynolds's paintings of the 1780s. In 1782 Reynolds exhibited the Infant Academy at the Royal Academy. According to a contemporary critic the picture was painted immediately after Reynolds had returned from Flanders and thus ‘recollected all the beauty and force of colouring so characteristic of the Flemish School’ (St James's Chronicle, 30 April 1782). In 1786 Reynolds exhibited a portrait of Lady Anne Bingham (priv. coll.), which he himself referred to as ‘Sir Joshua's Chapeau de Paille’—a reference to Rubens's celebrated portrait (National Gallery, London), which he had seen in a private collection in Antwerp in 1781.
  
  Reynolds's Victorian biographer, Tom Taylor, was among the first to speculate whether ‘Whiggism could have so preponderated his society and sitters had he not been a very decided Whig’ (Leslie and Taylor, 2.155). By the 1780s Reynolds's allegiance to the whig party was becoming increasingly evident, both in his choice of friends and in his portrait sitters. When Lord Rockingham finally came to power briefly in spring 1782, many of Reynolds's closest friends assumed key positions in government. They included Augustus Keppel, as first lord of the Admiralty, Lord Ashburton, as privy seal, Charles James Fox, as secretary of state, and Edmund Burke, as paymaster of the forces. In 1783 Burke, in the course of reinstating two Treasury officials accused of embezzlement, was satirically ‘observed to have a miniature of Count Ugolino, from Sir Joshua Reynolds, in his hand, in order to give sublimity to the description’ (Postle, Subject Pictures, 149). Johnson ruefully observed the increasing influence of Fox and Burke on his erstwhile protégé: ‘He is under the Fox star and the Irish constellation. He is always under some planet’ (Boswell, Life, 3.261). In April 1784 Reynolds exhibited Fox's portrait at the Royal Academy, just as Fox was engaged in a bitter election to retain his parliamentary seat at Westminster. At Fox's suggestion Reynolds included in the portrait his recently defeated East India Bill and his representation of the Commons to the king, the very policies that had precipitated George III into dissolving parliament.
  
  On 1 October 1784 Reynolds was sworn in as principal painter-in-ordinary to the king, following the death of Allan Ramsay. Although the post conferred considerable kudos and a guaranteed income from replicating royal portraits, Reynolds poured scorn on the token annual salary of £50, complaining that the post was ‘a place of not so much profit and of near equal dignity with His Majesty's Rat-catcher’ (Letters, 112). Yet Reynolds coveted the post deeply, to the point of being prepared to resign the presidency of the Royal Academy. Ultimately Reynolds used his influence in the corridors of power to sway the issue in his favour, Thomas Gainsborough remarking that the post was originally to have been his except that Reynolds's friends ‘stood in the way’ (The Letters of Thomas Gainsborough, ed. J. Hayes, 2001, 161). Several weeks later, on 18 October, Reynolds was granted the freedom of the Painter–Stainers' Company at its annual dinner in the City of London.
  
  Among the seventeen works which Reynolds exhibited at the Royal Academy in 1784 were a full-length military portrait of George, prince of Wales, reining in a charger (priv. coll.), a coquettish Nymph and Cupid (Tate collection), and a portrait, Mrs Siddons as ‘The Tragic Muse’(Henry E. Huntington Art Gallery, San Marino, California. This last portrait was greeted by admirers as a form of ‘confined’ history painting, the general attitude of the figure being modelled upon the figure of Michelangelo's Isaiah from the vault of the Sistine Chapel. The enhanced aesthetic and intellectual appeal of Mrs Siddons was mirrored in the 1000 guinea price tag Reynolds placed on the picture. The price proved too high, and in 1786 the picture was still on Reynolds's hands, ‘which it would not be was this the period of the Tenth Leo, or the family of the Medici’ (Public Advertiser, 1 March 1786). In 1790 he sold it to a French collector for 700 guineas, then a record price for a portrait by Reynolds.