130:
33:
253:, with sitters depicted life size and full-length, in surroundings that conveyed the nobility and elite status of the subjects. Common metaphors included the introduction of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds, which implied a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates.
151:
257:
221:, he has drawn them with great nobleness; he has given them as much dignity as the human figure is capable of receiving yet we are expressly told in Scripture they had no such respectable appearance; and of St. Paul in particular, we are told by himself, that his bodily presence was mean.
196:
from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the
213:
How much the great style exacts from its professors to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact, may be seen in the
229:
was low, lame, and of a mean appearance. None of these defects ought to appear in a piece of which he is the hero. In conformity to custom, I call this part of the art
324:, but by ambitious middle class sitters as well. When especially ostentatious in presentation, typically in full-length works, this has also been referred to as the
703:
492:
138:
420:
554:
460:
523:
184:
artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was Sir
476:
264:. full-length, in a purple embroidered French frock suit, holding a gun, a spaniel at his feet, in a landscape (94 x 58 in. / 238.7 x 147.3 cm)
678:
116:
602:
650:
610:
594:
578:
696:
452:
54:
97:
618:
586:
413:
218:
50:
69:
76:
484:
43:
688:
668:
468:
500:
406:
383:
83:
444:
710:
626:
337:
65:
683:
562:
393:
546:
570:
311:
299:
276:
246:
222:
388:
368:
731:
662:
318:. In the late nineteenth century the rhetoric of the Grand Manner was adopted not only by the
287:
250:
656:
531:
291:
261:
242:
214:
206:
177:
143:
429:
320:
307:
295:
185:
158:
90:
357:
181:
725:
315:
303:
193:
508:
269:
129:
225:
is said to have been of a low stature: a painter ought not so to represent him.
644:
32:
173:
272:
226:
169:
17:
150:
279:
133:
398:
283:
256:
255:
149:
128:
217:. In all the pictures in which the painter has represented the
402:
294:
that came to exemplify the urbane portrait style practised by
26:
306:, and then in the nineteenth and twentieth centuries by Sir
249:, the Grand Manner came thereafter also to be applied to
161:, 1778, the grand manner transferred to portraiture.
637:
436:
57:. Unsourced material may be challenged and removed.
369:John Singer Sargent and the Swagger Portrait, Tate
704:Cenotaph to the Memory of Sir Joshua Reynolds
414:
8:
493:Colonel Acland and Lord Sydney: The Archers
139:The Expulsion of Heliodorus from the Temple
421:
407:
399:
188:who gave currency to the term through his
117:Learn how and when to remove this message
461:David Garrick Between Tragedy and Comedy
384:The Oxford Dictionary of Art and Artists
192:, a series of lectures presented at the
524:Lady Cockburn and Her Three Eldest Sons
350:
477:Portrait of the Marquess of Rockingham
358:Reynold's Discourses - searchable text
555:Lady Elizabeth Delmé and Her Children
7:
55:adding citations to reliable sources
679:Society of Artists of Great Britain
340:, a comparable concept in rhetoric
286:, it was the court portraiture of
146:, 1512. The original grand manner.
25:
245:, regarded as the highest in the
603:Sarah Siddons as the Tragic Muse
31:
595:Cupid Untying the Zone of Venus
579:Captain George K. H. Coussmaker
42:needs additional citations for
697:Memoirs of Sir Joshua Reynolds
453:Portrait of Margaret Desenfans
282:provided the gestures for the
1:
619:Portrait of Maria Fitzherbert
587:Portrait of Banastre Tarleton
536:
513:
180:. In the eighteenth century,
155:Jane, Countess of Harrington
748:
485:Portrait of Elizabeth Kerr
469:Portrait of John Burgoyne
501:Portrait of Joseph Banks
233:; it ought to be called
445:Portrait of Robert Orme
389:National Gallery of Art
168:refers to an idealized
627:Portrait of Lord Moira
265:
241:Originally applied to
237:, as in reality it is.
162:
147:
684:Royal Academy of Arts
563:The Ladies Waldegrave
259:
215:cartoons of Raffaelle
153:
132:
611:The Age of Innocence
547:Lady Caroline Howard
260:Swagger Portrait of
51:improve this article
312:John Singer Sargent
300:Thomas Gainsborough
277:Italian Renaissance
247:hierarchy of genres
205:", in reference to
176:and the art of the
172:style derived from
266:
163:
148:
719:
718:
663:Theophila Gwatkin
651:Elizabeth Johnson
288:Peter Paul Rubens
251:portrait painting
190:Discourses on Art
127:
126:
119:
101:
16:(Redirected from
739:
657:Frances Reynolds
541:
538:
532:Portrait of Omai
518:
515:
423:
416:
409:
400:
371:
366:
360:
355:
326:swagger portrait
292:Anthony van Dyck
243:history painting
231:history painting
207:history painting
178:High Renaissance
122:
115:
111:
108:
102:
100:
59:
35:
27:
21:
747:
746:
742:
741:
740:
738:
737:
736:
722:
721:
720:
715:
707:(1836 painting)
633:
539:
516:
432:
430:Joshua Reynolds
427:
380:
375:
374:
367:
363:
356:
352:
347:
334:
321:nouveaux riches
308:Thomas Lawrence
186:Joshua Reynolds
159:Joshua Reynolds
123:
112:
106:
103:
60:
58:
48:
36:
23:
22:
15:
12:
11:
5:
745:
743:
735:
734:
724:
723:
717:
716:
714:
713:
708:
700:
693:
692:
691:
681:
676:
671:
666:
665:(niece, model)
660:
654:
648:
641:
639:
635:
634:
632:
631:
623:
615:
614:(1785 or 1788)
607:
599:
591:
583:
575:
567:
559:
551:
543:
528:
520:
505:
497:
489:
481:
473:
465:
457:
449:
440:
438:
434:
433:
428:
426:
425:
418:
411:
403:
397:
396:
391:
386:
379:
376:
373:
372:
361:
349:
348:
346:
343:
342:
341:
333:
330:
239:
238:
125:
124:
66:"Grand manner"
39:
37:
30:
24:
14:
13:
10:
9:
6:
4:
3:
2:
744:
733:
730:
729:
727:
712:
709:
706:
705:
701:
699:
698:
694:
690:
687:
686:
685:
682:
680:
677:
675:
672:
670:
667:
664:
661:
658:
655:
652:
649:
646:
643:
642:
640:
636:
629:
628:
624:
621:
620:
616:
613:
612:
608:
605:
604:
600:
597:
596:
592:
589:
588:
584:
581:
580:
576:
573:
572:
568:
565:
564:
560:
557:
556:
552:
549:
548:
544:
534:
533:
529:
526:
525:
521:
511:
510:
506:
503:
502:
498:
495:
494:
490:
487:
486:
482:
479:
478:
474:
471:
470:
466:
463:
462:
458:
455:
454:
450:
447:
446:
442:
441:
439:
435:
431:
424:
419:
417:
412:
410:
405:
404:
401:
395:
394:Tate glossary
392:
390:
387:
385:
382:
381:
377:
370:
365:
362:
359:
354:
351:
344:
339:
336:
335:
331:
329:
327:
323:
322:
317:
316:Augustus John
313:
309:
305:
304:Pompeo Batoni
301:
297:
293:
289:
285:
281:
278:
274:
271:
263:
258:
254:
252:
248:
244:
236:
232:
228:
224:
220:
216:
212:
211:
210:
208:
204:
200:
195:
194:Royal Academy
191:
187:
183:
179:
175:
171:
167:
160:
156:
152:
145:
141:
140:
135:
131:
121:
118:
110:
99:
96:
92:
89:
85:
82:
78:
75:
71:
68: –
67:
63:
62:Find sources:
56:
52:
46:
45:
40:This article
38:
34:
29:
28:
19:
702:
695:
673:
625:
617:
609:
601:
593:
585:
577:
569:
561:
553:
545:
530:
522:
509:Blinking Sam
507:
499:
491:
483:
475:
467:
459:
451:
443:
364:
353:
325:
319:
267:
240:
234:
230:
202:
198:
189:
166:Grand manner
165:
164:
154:
137:
113:
104:
94:
87:
80:
73:
61:
49:Please help
44:verification
41:
18:Grand Manner
674:Grand Style
645:Mary Palmer
566:(1780–1781)
540: 1776
517: 1775
496:(1769–1770)
338:Grand style
262:Philip Gell
203:grand style
199:great style
142:, from the
669:Wick House
378:References
174:classicism
77:newspapers
437:Paintings
273:sculpture
227:Agesilaus
223:Alexander
170:aesthetic
732:Painting
726:Category
711:The Club
659:(sister)
653:(sister)
647:(sister)
332:See also
296:Reynolds
280:painting
235:poetical
219:apostles
107:May 2016
638:Related
182:British
144:Vatican
134:Raphael
91:scholar
689:statue
630:(1790)
622:(1788)
606:(1784)
598:(1784)
590:(1782)
582:(1782)
574:(1781)
558:(1779)
550:(1778)
527:(1775)
504:(1773)
488:(1769)
480:(1768)
472:(1766)
464:(1761)
456:(1757)
448:(1756)
302:, and
201:" or "
93:
86:
79:
72:
64:
571:Thaïs
345:Notes
284:genre
270:Roman
98:JSTOR
84:books
314:and
290:and
275:and
70:news
268:If
157:by
53:by
728::
537:c.
514:c.
328:.
310:,
298:,
209::
136:,
542:)
535:(
519:)
512:(
422:e
415:t
408:v
197:"
120:)
114:(
109:)
105:(
95:·
88:·
81:·
74:·
47:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
