portrait-photo

The Wunderkammer of the Mild Colonial Boy, Esq., a Reactionary Tory Gentleman, who armed only with a Steampowered Babbage Engine and Pure Intentions, wanders the Time Streams and Aetheric Plane gathering an Eccentric Hodgepodge of Curiousities, Frivolities, Whimsicalities and Nonsense.

Q. Why is your Tumblelog called "My Ear-Trumpet Has Been Struck by Lightning"?

A. Because "My Grandmother's Ear-Trumpet Has Been Struck by Lightning" wouldn't fit in the available space.

Portrait of Diana Sackville, 1777 - Joshua Reynolds (1723-1792)

Portrait of Diana Sackville, 1777 - Joshua Reynolds (1723-1792)

(Source: vfreie)

antolldubh: Charles Stanhope, 3rd Earl of Harrington by Sir Joshua Reynolds, 1782.

antolldubh:

Charles Stanhope, 3rd Earl of Harrington by Sir Joshua Reynolds, 1782.

cultured-f**k: Joshua Reynolds, Portrait of Sir Banastre Tarleton (Colonel Tarleton), (1782)

cultured-f**k:

Joshua Reynolds, Portrait of Sir Banastre Tarleton (Colonel Tarleton), (1782)

jaded-mandarin: Sir Joshua Reynolds. Mrs. Horton, Later Viscountess Maynard.

jaded-mandarin:

Sir Joshua Reynolds. Mrs. Horton, Later Viscountess Maynard.

realityeffect: Margaret Dicksee (1858-1903). “Miss Angel”: Angelica Kauffmann, introduced by Lady Wentworth, visits Mr. Reynolds’ studio. 1892. 112 x 86.5 cm. Sold £25,300: Christies, London (29-03-1996, lot 116).

realityeffect:

Margaret Dicksee (1858-1903). “Miss Angel”: Angelica Kauffmann, introduced by Lady Wentworth, visits Mr. Reynolds’ studio. 1892. 112 x 86.5 cm. Sold £25,300: Christies, London (29-03-1996, lot 116).

a-l-ancien-regime: Self-Portrait as a Deaf Man, circa 1775 Sir Joshua Reynolds (1723‑1792) Creating self-portraits in character or pulling a face was a traditional form of student exercise. But this image was created when the painter was the most famous artist of the age. Instead of an experiment, it seems to be a more considered statement. Reynolds may have focused on his own struggle to hear (he went deaf in later years) as a way of expressing the artist’s struggle to create an image from his raw materials. In his lectures on art, delivered at the Royal Academy, Reynolds stressed the arduous, and thus morally uplifting, nature of art.

a-l-ancien-regime:

Self-Portrait as a Deaf Man, circa 1775

Sir Joshua Reynolds (1723‑1792)

Creating self-portraits in character or pulling a face was a traditional form of student exercise. But this image was created when the painter was the most famous artist of the age. Instead of an experiment, it seems to be a more considered statement.

Reynolds may have focused on his own struggle to hear (he went deaf in later years) as a way of expressing the artist’s struggle to create an image from his raw materials. In his lectures on art, delivered at the Royal Academy, Reynolds stressed the arduous, and thus morally uplifting, nature of art.

cavetocanvas: Sir Joshua Reynolds, Self Portrait when Young, 1753-58 From the Tate Gallery: This self-portrait was probably painted soon after Reynolds set up a studio in London in 1753. He had spent the previous three years studying art in Italy. The personal connections and artistic ambitions Reynolds developed when he was abroad served him well. These years marked the beginning of a carefully-managed and hugely successful career. This self-portrait, which deliberately echoes famous  images by Rembrandt, signals his artistic aspirations. Such posturing struck a chord with London’s fashionable and aristocratic society, who wanted portraits that would flatter their growing cultural pretensions.

cavetocanvas:

Sir Joshua Reynolds, Self Portrait when Young, 1753-58

From the Tate Gallery:

This self-portrait was probably painted soon after Reynolds set up a studio in London in 1753. He had spent the previous three years studying art in Italy. The personal connections and artistic ambitions Reynolds developed when he was abroad served him well. These years marked the beginning of a carefully-managed and hugely successful career. This self-portrait, which deliberately echoes famous  images by Rembrandt, signals his artistic aspirations. Such posturing struck a chord with London’s fashionable and aristocratic society, who wanted portraits that would flatter their growing cultural pretensions.