_-_Mary_Barnardiston_(1730%E2%80%931760)_-_496-1883_-_Victoria_and_Albert_Museum.jpg&width=1200)
Mary Barnardiston (1730–1760)
Joshua Reynolds·1755
Historical Context
Mary Barnardiston from 1755 at the V&A shows Reynolds painting a young woman with developing confidence. His portraits of this period show the transition from his early manner to the Grand Manner style of his maturity. Reynolds built his portraits using multiple glazed layers over a warm imprimatura, blending Rembrandt's tonal depth with Van Dyck's aristocratic elegance—though his experimental use of bitumen and carmine often caused irreversible darkening.
Technical Analysis
The portrait presents the sitter with graceful bearing. Reynolds's developing technique shows increasing command of the portrait genre.
Look Closer
- ◆Notice the transitional style: painted 1755, this shows Reynolds moving from his early English manner toward the Grand Style his Italian journey enabled.
- ◆Look at the developing warm palette: the Venetian-influenced glazing technique is emerging but not yet fully realized.
- ◆Observe the pose: Reynolds is beginning to experiment with more ambitious compositions for female sitters.
- ◆Find the careful observation of the face — Reynolds maintained close likeness even as his style became more ambitious.
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
