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"content": "<p><i>The Holy Family</i>, one of only a small number of religious pictures by Sir Joshua Reynolds, was painted towards the end of the artist's career. In terms of colour and <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> it is heavily influenced by the art of Titian (<i>c</i>.1487/90-1576) and other Italian old masters, whom Reynolds had studied intently since his visit to Italy during the early 1750s. It was purchased from Reynolds in 1789 by Thomas Macklin (d. 1800) to hang in his 'Poets' Gallery', 89 Fleet Street, a commercial venture that relied upon selling <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> from original <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>paintings</span></a>. The picture appears to have been completed by October 1787 when <i>The Morning Post</i> noticed it hanging in Reynolds's own picture gallery at his home in Leicester Square. It is not certain exactly when Reynolds began work on the picture, although a reference in his pocket book at 10 a.m. on 18 January 1787 to an 'old man' may relate to the model for St. Joseph. The composition, particularly the figure of the infant St. John the Baptist, is partly based on Correggio's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/allegory\" title=\"Glossary definition for 'Allegory'\"><span>allegorical</span></a> <i>Mercury Instructing Cupid in front of Venus</i> (National Gallery, London).\n\n</p><p>The picture was first exhibited at the Poets' Gallery in 1789. In April 1790, when it was again on view, the press reported royal interest in the picture: 'The fame of Sir Joshua's \"Holy Family\" in the Poets' Gallery has made its way to the palace. We hear it is in contemplation, immediately after the Birthday, to gratify the Princess Royal (who is an amateur) with a view of this boast of the English School' (<i>The World</i>, 19 April 1790). It was exhibited by Macklin once more in 1791, but was omitted from his catalogue in 1792 and 1793, by which time he had probably sold the painting, having commissioned an engraving to be made from it by subscription.\n\n</p><p>In 1829 Sir Peter Burrell (1754-1829), who had bought the picture from Macklin, bequeathed it to the National Gallery, where it hung alongside old-master paintings. By now the condition of <i>The Holy Family</i> was causing concern. In 1839 the artist John Landseer (1769-1852) observed: 'When it hung in Macklin's Gallery and subsequently in that of Sir Peter Burrell, it was then a fine picture with a solemn tone suited to the sacredness of the subject
the St Joseph was not then \"a weak old man\" but might vie with any St Joseph from the hand of Titian himself'. Landseer noted that the head of St. Joseph had been affected adversely not only by Reynolds's experimental technique but also by a recent cleaning by a member of The Skinners' Company, which removed some of the delicate glazes (<i>The Probe</i>, 1839-40, p.182). It was transferred to the Tate Gallery in 1949. \n\n</p><p><b>Further reading:<br/></b><br/>David Mannings and Martin Postle, <i>Sir Joshua Reynolds. A Complete Catalogue of his Paintings</i>, New Haven and London 2000, vol.1, pp.536-7, no.2089; vol. 2, p.600, fig.1637\n\n</p><p>Martin Postle<br/>November 2000</p>",
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"content": "<div class=\"pbodytext\">\n<span class=\"text16\">Reynolds painted very few religious </span><span class=\"text0\"><a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>paintings</span></a>. This one, produced towards the end of his life, shows many aspects of the ‘<a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/g/grand-manner\" title=\"Glossary definition for 'Grand Manner'\"><span>grand style</span></a>’ he recommended to </span><span class=\"text15\">the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/academy\" title=\"Glossary definition for 'Academy'\"><span>Academy</span></a>’s students. The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a></span><span class=\"text0\"> </span><span class=\"text15\">is based on the work of old master</span><span class=\"text0\"> </span><span class=\"text14\">painters</span><span class=\"text15\"> Reynolds had studied in Italy.</span><span class=\"text0\"> </span><span class=\"text16\">The drapery is simple, with little</span><span class=\"text0\"> description of details such as texture or local colour. </span>\n</div>\n<div class=\"para10\">\n<span class=\"text0\">\n<br/> </span>\n</div>\n<div class=\"pbodytext\">\n<span class=\"text16\">The colour has faded to little more than tints of light and shade. But Reynolds particularly</span><span class=\"text0\"> </span><span class=\"text15\">cautioned students to avoid over-sensuous</span><span class=\"text0\"> </span><span class=\"text16\">colouring. Bright colours, he warned, could not produce ‘that solidity, </span><span class=\"text0\">steadiness, and simplicity of effect, which heroick subjects require.’ </span>\n</div>\n",
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Ink and watercolour on paper | [
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] | <p>Although Richmond at one time described this drawing as by Blake, stylistically it is unlike his work. Richmond's attribution, probably made when he was an old man, therefore seems to be wrong. It is probably by Richmond himself. Blake's influence is most apparent in the choice of subject. The chained figure of a man recalls the figure of Orc in Blake's drawing 'Los and Orc' which once belonged to Richmond's friend John Linnell. It is now in the Tate collection. This drawing must date from about the time of Richmond's first meeting with Blake, at Linnell's house, in 1825. Richmond later said that conversing with Blake was like 'talking to the Prophet Isaiah'.</p><p><em>Gallery label, September 2004</em></p> | false | 1 | 447 | paper unique ink watercolour | [
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] | Fettered Nude Figure Reclining by a Rock | 1,825 | Tate | c.1825 | CLEARED | 5 | support: 233 × 340 mm | accessioned work | Tate | Presented by Mrs John Richmond 1922 | [
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"content": "<p>Although Richmond at one time described this <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> as by Blake, stylistically it is unlike his work. Richmond's attribution, probably made when he was an old man, therefore seems to be wrong. It is probably by Richmond himself. Blake's influence is most apparent in the choice of subject. The chained figure of a man recalls the figure of Orc in Blake's drawing 'Los and Orc' which once belonged to Richmond's friend John Linnell. It is now in the Tate collection. This drawing must date from about the time of Richmond's first meeting with Blake, at Linnell's house, in 1825. Richmond later said that conversing with Blake was like 'talking to the Prophet Isaiah'.</p>",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/richmond-fettered-nude-figure-reclining-by-a-rock-a00838\" title=\"View the details of this artwork\"><span>A00838</span></a> <b>A Fettered Nude Figure Reclining by a Rock</b> <i>c.</i>1825</p>\n<p></p>\n<p>A 00838\n<br/>Pen and wash 235×343 (9 1/4×13 1/2) Inscribed by George Richmond, ‘Drawn by W. Blake, GR’ b.r.\n<br/>Presented by Mrs George Richmond 1922\n<br/>PROVENANCE George Richmond, sold Christie's 29 April 1897 (in 147, with 22 other items, see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-st-christopher-copy-from-an-engraving-verso-part-of-a-face-copy-from-a-plaster-cast-a00045\" title=\"View the details of this artwork\"><span>A00045</span></a>) £2.10.0 bt Dr. Richard Sisley; his daughter Mrs John Richmond.\n<br/></p>\n<p>Despite the inscription in George Richmond's own hand this <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> is stylistically unlike anything known to be by Blake. The similarity of the figure in this drawing to that in Richmond's <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/t/tempera\" title=\"Glossary definition for 'Tempera'\"><span>tempera</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>painting</span></a> of 1825, ‘Abel the Shepherd’ in the Tate Gallery (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/richmond-abel-the-shepherd-n05858\" title=\"View the details of this artwork\"><span>N05858</span></a>) suggests some confusion in Richmond's mind arising from the fact that, according to Mrs Gilchrist, Blake ‘made a careful correction-drawing of the shepherd's arm in his pupil's [Richmond's] sketchbook’ (H.H. Gilchrist, <i>Anne Gilchrist: Her Life and Writings</i>, 1887, p.261; Bentley <i>Blake Records</i> 1969, pp.293 n.1). A number of Richmond's early drawings bear inscriptions and dates that seem to have been added by him very much later; in some cases alternative dates are given, demonstrating that he was working from memory, and this would seem to have been so, mistakenly, in this case.\n<br/>\n<br/>This work was formerly inventoried as no.3694 iii.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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