Query: Francina Reynolds

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Francina Reynolds

2 Dec 1803 Rising Sun, Cecil, Maryland, USA
11 Sep 1861 Rising Sun, Cecil, Maryland, USA

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Francina Reynolds's Family Relations

Henry Reynolds
23 Mar 1757 – 26 Jan 1835
Catharine Skiles
5 Oct 1775 – 1807

Sarah Ann Reynolds
1807 – 1848
Henry Reynolds
1805 – 25 Sep 1892
Mary Reynolds
9 Sep 1794 –
Jacob Reynolds
16 Nov 1780 – 1 Jul 1802
Elizabeth Reynolds
12 Apr 1784 –
Sarah Reynolds
21 Nov 1790 –
William Reynolds
1761 – Sep 1808
Rebecca Reynolds
12 Sep 1788 –
Henry JR Reynolds
21 Mar 1798 –
David Reynolds
5 Mar 1797 – 17 Dec 1869
Israel Reynolds
17 Jun 1801 –
Martha Patsy Runnels
11 Jul 1805 – 11 Apr 1894

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Memoirs of Sir Joshua Reynolds - Page 221


SIR JOSHUA REYNOLDS whose works, the acknowledged patterns of grace, and expression, conduce not more to excite emulation, than his lectures serve to instruct the students in the solid principles of design and composition, might have been presumed to have exerted such effects of British genius' in the sublimer branches of the arts, as might almost have rivalled the exquisite sculpture of A n cient Greece and Rome, or the finished paintings of the Roman, Florentine, and Flemish schools; but in Sculpture, as well as in History, Painting, and Land scape, we cannot but perceive, a mortifying disparity in the best of these pieces, in the late exhibition, when placed in competition with the works before mention- e d This wise critic, it seems, expected that painters would start up as mushrooms do, and thrive under as small a portion of attention, but he ought to have known that Art is not to be raised by the numbers, however great, who only gaze on its productions, and do no more. Sir Joshuas offerings to the Exhibition this year consisted of his historical portrait of Miss Beauclerc in the character of Spencers Una, and of his emblemati cal figure of Justice, then drawn as a model for the window which M r. Jervis was painting at Oxford; to these were subjoined his portraits of the Historical Gibbon, of Lady Beaumont, of Lord …

Sir Joshua Reynolds, P. R. A. - Page 58


Sir Joshua Reynolds that in so far as he wittingly used unstable colours he used the only medium which would produce the effect that gave its particular character to his work, in which lords and ladies gay, by a refinement of irony, were represented with a beauty not only as bright but as perishable as their own.1 The case of the Marquis of Drogheda, whose portrait has been instanced as one the fading of which maintained a curious parallelism between the counterfeit and real man, was doubtless one of many similar cases. The Marquis, according to J. T. Smith, the author of the Life of Nollekens, was painted in early life by Sir Joshua Reynolds. He shortly afterwards went abroad and remained away between twenty and thirty years, during which time he ran into excess, became bilious, and returned to Ireland with a shattered constitution, to find that the portrait and the original had faded together. It must be hoped that the Marquis was edified by the parallelism, but it is not on record that he was, any more than it is on record that the other fine-gentleman and fine-lady sitters to Reynolds endorsed the opinion of Opie, of whom it is stated that he used to say that the faded pictures of Reynolds were finer than those of 1 Regarding the method of colouring recommended by Reynolds, the following is one of his most …

The Literary Works of Sir Joshua Reynolds to Which Is Prefixed a Memoir of the Author; With Remarks on His Professional Character, Illustrative of His Principles and Practice (Volume 1) - Page 64


44- memoir OF with some facility in his studies: but his performances were, for some time after he quitted his instructor, slightly tinctured with the defects of his style; and, had he remained longer, it is probable that he would have had much more to unlearn, and that the efforts which his superior feeling for the art induced him to make in shaking off the partial Gothicism of manner which he had acquired in the school of Hudson, would have been rendered more difficult in proportion to the time which he had remained under the influence of such a master. Some of the pictures which he painted at this period, appear to have been but very indif- ferent ; being carelessly drawn, says Northcote, and frequently in common-place attitudes, like those of his old master Hudson, with one hand hid in the waistcoat, and the hat under the arm, a very favourite attitude with portrait-painters at that time, because particularly convenient to the artist, as by it he got rid of the tremendous difficulty of painting the hand. But one gentleman, whose portrait Reynolds painted, desired to have his hat on his head in the picture, which was quickly finished, in a common-place atti- tude, done without much study, and sent home; where, on inspection, it was soon discovered that, although this gentleman, in his portrait, had one hat upon his head, yet there was another under his arm. This picture, Northcote adds, I never saw; but I have heard the anecdote so often repeated, and from such authority, that I apprehend it to be a truth. While …

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About Francina Reynolds

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