The Age of Innocence
The Age of Innocence c1785-88 by British Painter Joshua Reynolds (1723 – 1792); who specialized in portrait paintings of the Rococo, Barokk, Nyklassisisme, Renaissance, Georgian Periods.
Dette er en vakker portrait of a young girl of about the age of 5 sitting in a garden with a tree behind her, holding her hands to her chest as she looks into the far distant terrain.
Dette er en retusjert digital kunst som gamle mestere gjengir av et offentlig domenebilde.
Info below Derived from Wikipedia.org
Sir Joshua Reynolds PRA FRS FRSA (16 juli 1723 - 23 februar 1792) was an English painter, specializing in portraits. John Russell said he was one of the major European painters of the 18th century He promoted the “Grand Style” in painting which depended on idealization of the imperfect. He was a founder and first president of the Royal Academy of Arts, and was knighted by George III in 1769.
Reynolds was born in Plympton, Devon, på 16 juli 1723[2] the third son of the Rev. Samuel Reynolds, master of the Plympton Free Grammar School in the town. His father had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university.[3] One of his sisters was Mary Palmer (1716–1794), seven years his senior, author of Devonshire Dialogue, whose fondness for drawing is said to have had much influence on him when a boy.
I 1740 she provided £60, half of the premium paid to Thomas Hudson the portrait-painter, for Joshua’s pupilage, and nine years later advanced money for his expenses in Italy. His other siblings included Frances Reynolds and Elizabeth Johnson.
As a boy, he came under the influence of Zachariah Mudge, whose Platonistic philosophy stayed with him all his life. Reynolds made extracts in his commonplace book from Theophrastus, Plutarch, Seneca, Mark Anthony, Ovid, William Shakespeare, John Milton, Alexander Pave, John Dryden, Joseph Addison, Richard Steele, Aphra Behn, og avsnitt om kunstteori av Leonardo da Vinci, Charles Alphonse Du Fresnoy, og André Félibien.
Arbeidet som kom til å ha den mest innflytelsesrike effekten på Reynolds, var Jonathan Richardsons An Essay on the Theory of Painting (1715). Reynolds’ kommentert kopi gikk tapt i nesten to hundre år til den dukket opp i en bokhandel i Cambridge, innskrevet med signaturen ‘J. Reynolds Pictor ’, og er nå i samlingen til Royal Academy of Arts, London.