SIR JOSHUA REYNOLDS. (After the Portrait by Himself.)

[[See larger version]]

Under Sir Joshua Reynolds a perfect revolution in the art of painting, as practised in England, was effected. He threw aside past traditional fashions, and returned to nature; and his portraits at once excited the consternation of the painters of the day, and placed him in the very first rank of artists. In 1768 was established the Royal Academy, and amongst its foreign members were Benjamin West and Angelica Kauffmann. West produced all his great works in England, and, however much they may now be criticised, they showed an advance on past art in England, and had the merit of introducing modern costume for modern heroes, as in the "Death of General Wolfe," contrary to the advice of even Reynolds himself. Barry made a spasmodic attempt to lead the public back to what he deemed the classical, but in vain; and the successive appearance of Wilson, Gainsborough, and Opie, in different styles, but all genuinely English, established the public in its attachment to the true English school. Wilson, during his lifetime, indeed, was neglected, and died in poverty; but the next generation made the amende to his fame, though too late for his own enjoyment of it. To Paul Sandby we owe the origin of the water-colour school, which afterwards grew so extensive and so rich in production. Amongst eminent painters of this portion of the reign we must mention Wright of Derby, Mortimer, Stubbs and Sawrey, animal painters, and Copley, who, though an American by birth, produced most of his works in England.

Of water-colour painters who extended the fame of the school were Payne, Cozens, Glover, Girtin, and Turner; but Turner soon deserted water for oil. In 1804 the Water-Colour Society was established, and Turner was not amongst its numbers, having already gone over to oil-painting; but there were Varley, Barrett, Hills, Rigaud, and Pocock. Wild and Pugin were exhibitors of architectural drawings at its exhibitions. Afterwards came Francia, Westall, Uwins, De Wint, Mackenzie, Copley Fielding, Robson, Prout, Gandy, and Bonington. In their rear, but extending beyond the reign, appeared a brilliant host.

In general art the names of Fuseli, Northcote, and Stothard stand eminent, and were the foremost contributors to Alderman Boydell's celebrated Shakespeare Gallery. There were also Hoppner, Beechey, Morland; in Scotland, Sir William Allan and Sir Henry Raeburn. In caricature Gillray was a worthy successor to Hogarth.

In 1805 a great step in British painting was made by the establishment of the British Institution; and in 1813 this institution opened the National Gallery. The annual exhibitions soon became enriched by the consummate works of Hilton, Etty, Haydon, Briggs, Sir Thomas Lawrence (in elegant portraits), Phillips, Shee, Carpenter, Harlow, Wilkie, Mulready, Turner, Calcot, Collins, Landseer, Martin, Danby, Howard, Cooper, Leslie, and Hone. No age in England had produced so illustrious a constellation of painters, as varied in character as they were masterly in artistic power.

The art of sculpture, like that of painting, took a new spring in this reign, but the early part of it was encumbered by the tasteless works of Wilton, Read, and Taylor. It remained for the genius of Banks, Nollekens, Bacon, Baily, Behnes, and Chantrey, to place sculpture on its proper elevation in England.

To the art of engraving Woollett and Strange gave a first-rate eminence, and were successfully followed by Browne, Byrne, Rosker, and Major. In mezzotint M. Ardell admirably rendered the portraits of Sir Joshua Reynolds; and Smith, Green, Thomas, and Watson also excelled in this class of engraving. In engravings for books Heath and Angus stand pre-eminent; and Boydell's "Shakespeare" spread the taste, though his illustrations were chiefly done in the inferior style of dot engraving. In line engraving the names of Sharp, Sherwin, Fittler, Anker Smith, Neagle, Lowry, Turrell, Scott, and others, are of high repute. In landscape engraving no names, in the middle period of the reign, stood more prominent than those of Middiman, Watt, Angus, Milton, Pouncey, Peak, and Taylor.

There arose a second school of mezzotint engravers, the chief of whom were Earlom, Reynolds, Daniell, Sutherland, and Westall. The strange but intellectual Blake was both painter and his own engraver, in a style of his own. Towards the end of the reign flourished, chiefly in architectural illustrations, Le Keux, John and Henry, pupils of Bazire, Roffe, Ransom, and Scott; in landscape, William and George Cooke, William and Edward Finden, Byrne, and Pye; in portrait, Charles and James Heath, John Taylor, Skelton, Burnet, Bromley, Robinson, Warren, and Lewis.