
John Musters
Joshua Reynolds·1777-c. 1780
Historical Context
Reynolds's John Musters at the National Gallery of Art depicts a young English gentleman with the outdoor, informal energy that characterized his male portrait subjects from the sporting and landed classes. The outdoor setting and the naturalness of the pose communicate the specific identity of a man whose life was organized around the country pursuits — hunting, shooting, riding — that defined the English gentleman's existence. Reynolds's understanding that male identity in his period was expressed through activity, sport, and physical presence in the natural world gave his male portraits their particular vitality, different from the more constrained formality of his female portraits.
Technical Analysis
The outdoor portrait setting allows Reynolds to combine figure painting with landscape. The warm, rich palette and confident handling of the sporting costume demonstrate his ability to convey both social status and personal character.
Look Closer
- ◆Notice the outdoor setting and informal energy — this communicates the sporting, land-owning identity of an English gentleman
- ◆Look at the rich, warm palette and confident brushwork in the sporting costume
- ◆Observe the natural light that illuminates the figure from outside, rather than the controlled studio lighting of indoor portraits
- ◆Find how the landscape setting works compositionally — dark trees or hills framing the illuminated figure
- ◆Notice the comparison between Reynolds's male and female portraits: men are given activity and outdoor presence; women, indoor poise
Provenance
Painted for the sitter, John Musters [1753-1827], Colwick Hall, Nottinghamshire; probably by inheritance to his son, John Musters [1777-1849], Colwick Hall; (his estate sale, at Colwick Hall by J.M. Pott, 9-13 and 16 December 1850, 4th day [Dec. 12], no. 680, bought in); by inheritance to his grandson, John Chaworth Musters [1838-1887], Annesley Park, Colwick Hall, and Wiverton Hall; his estate; sold 3 July 1888 to (Thos. Agnew & Sons, Ltd., London); sold 10 July 1888 to Sir Edward Cecil Guinness [later 1st earl of Iveagh, 1847-1927], Dublin, London, Cowes, and Elveden Hall, Suffolk; sold 19 November 1892 back to (Thos. Agnew & Sons, Ltd., London); sold 29 June 1897 to (William Lockett Agnew, London).[1] private collection ["a lady"]; consigned for her by (William Lockett Agnew, London) to (sale, Christie, Manson & Woods, London, 27 April 1901, no.101); (Thos. Agnew & Sons, Ltd., London); sold two days later to Charles Richard John Spencer-Churchill, 9th duke of Marlborough [1871-1934];[2] (sale, Christie, Manson & Woods, London, 14 June 1907, no. 104); bought by (Lane) for Sir W. Hutcheson Poë, Bt., Batchwood Hall, near St. Albans;[3] (sale, Christie, Manson & Woods, London, 8 July 1927, no. 58); (Thos. Agnew & Sons, Ltd., London);[4] sold the same month to Alvan T. Fuller [1878-1958], Boston; The Fuller Foundation, Boston; gift 1961 to NGA. [1] The purchase of the painting by Guinness and its sale back to Agnew is discussed in Julius Bryant, _Kenwood: Paintings in the Iveagh Bequest_, New Haven and London, 2003: 15, 354 fig. 2, 356-357, 417; this reference was kindly brought to the Gallery's attention by a descendant of the sitter, Robert Chaworth-Musters, in an e-mail of 7 July 2015, copy in NGA curatorial files. The Thos. Agnew & Sons Ltd. Archive was acquired in 2014 by the National Gallery Archive, London, and the picture stock books have since been digitized and made available on-line. The Reynolds is recorded on page 92 of the stock book for 1885-1891 (reference number NGA27/1/1/7), and on page 35 of the stock book for 1891-1898 (reference number NGA27/1/1/8); copies in NGA curatorial files. [2] Agnew stock books, recorded by The Getty Provenance Index, J. Paul Getty Trust, Los Angeles, California. See also letter of 9 June 1988 from Martha Hepworth at The Getty Provenance Index, in NGA curatorial files. [3] The Getty Provenance Index records Lane as the buyer for Poë. [4] Details of the consignors and buyers at the 1901, 1907, and 1927 Christie's sales were kindly confirmed by Lynda McLeod, Librarian, Christie's Archives, in her e-mail of 1 August 2012, in NGA curatorial files.
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