
Miss Beatrix Lister
Joshua Reynolds·1765
Historical Context
Reynolds's Miss Beatrix Lister at the National Gallery of Art depicts a young girl in the affectionate, informal manner that was his most appealing mode for children's portraiture. The Lister family were connected to the Whig aristocratic world that Reynolds served, and the commission for a child's portrait was part of the sustained family relationship that kept Reynolds supplied with portrait commissions across generations of the English elite. Miss Beatrix's naturalness — the direct gaze, the slight informality of pose — combined with the careful rendering of her face and clothing creates an image of specific childhood personality within the convention of the aristocratic child portrait.
Technical Analysis
The child's animated features are rendered with warm, luminous flesh tones and lively brushwork. Reynolds's palette is fresh and bright, capturing the vitality of youth with characteristic technical assurance.
Look Closer
- ◆Notice the freshness and brightness of the palette — Reynolds gives children a different, lighter colour treatment than adults
- ◆Look at the animated facial expression — this child has personality rather than merely decorative prettiness
- ◆Observe the warm luminous flesh tones applied with particular gentleness for a young subject
- ◆Find the handling of dress and hair — broadly painted but lively in texture
- ◆Notice how this compares with Reynolds's more formal adult portraits — the informality here reflects his understanding of children
Provenance
By inheritance to the sitter's son, Thomas Lister Parker [1779-1858], Browsholme, York County, until at least 1817;[1] probably by inheritance to Thomas Lister, 4th baron Ribblesdale [1854-1925], Gisburne Park, near Clitheroe, York County, from at least 1878;[2] purchased 2 July 1918 by (Thos. Agnew & Sons., Ltd., London); sold 27 February 1919 to Lady Michelham [d. 1927], London; sold 28 November 1921 back to (Thos. Agnew & Sons., Ltd., London);[3] sold 17 May 1923 to (Arthur J. Sulley & Co., London).[4] Mr. and Mrs. William Larimer Mellon, Pittsburgh, by 1925;[5] their daughter, Margaret Mellon Hitchcock [Mrs. Thomas Mellon Hitchcock, b. 1901], New York; gift 1995 to NGA. [1] He lent the painting to an exhibition in 1817. [2] The sitter's brother, Thomas Lister [1752-1826], was created the first Baron Ribblesdale in 1797. According to Algernon Graves and William Vine Cronin (_A History of the Works of Sir Joshua Reynolds_, 4 vols., London, 1899: 2:588-589), the painting probably returned to the sitter's brother's descendants after the death of her son. The painting is recorded as being at Gisburne Park in a publication of 1878 (Thomas Dunham Whitaker, _The History and Antiquities of the Deanery of Craven in the County of York_, edited by A.W. Morant, 3rd ed., Leeds and London, 1878: 53). "Lord Ribblesdale" lent the painting to two exhibitions, in 1883 and 1908. [3] Agnew stock books, copies in NGA curatorial files provided by the Research Library, Getty Research Institute, Los Angeles. See also David Mannings, _Sir Joshua Reynolds: A Complete Catalogue of His Paintings_, 2 vols., New Haven and London, 2000: 1:308, no. 1134. [4] Mannings 2000, 1:308, no. 1134. The author identified the painting as "untraced" and illustrated a copy, although the NGA had acquired the painting five years earlier. [5] The Mellons lent the painting to an exhibition in 1925.
See It In Person
More by Joshua Reynolds
_with_Inigo_Jones_and_Charles_Blair_-_MET_DP213052.jpg&width=600)
The Honorable Henry Fane (1739–1802) with Inigo Jones and Charles Blair
Joshua Reynolds·1761–66

Lady Sarah Bunbury Sacrificing to the Graces
Joshua Reynolds·1763–65

Sir Thomas Rumbold, Bt.
Joshua Reynolds·1788
_and_Martha_Neate_(1741%E2%80%93after_1795)_with_His_Tutor%2C_Thomas_Needham_MET_DP168995.jpg&width=600)
Thomas (1740–1825) and Martha Neate (1741–after 1795) with His Tutor, Thomas Needham
Joshua Reynolds·1748



