]
The next man to be mentioned, one of the most considerable of all the
English school, is Sir Joshua Reynolds (1723-1792). He was a pupil of
Hudson, but owed his art to many sources. Besides the influence of Van
Dyck he was for some years in Italy, a diligent student of the great
Italians, especially the Venetians, Correggio, and the Bolognese
Eclectics. Sir Joshua was inclined to be eclectic himself, and from
Italy he brought back a formula of art which, modified by his own
individuality, answered him for the rest of his life. He was not a man
of very lofty imagination or great invention. A few figure-pieces,
after the Titian initiative, came from his studio, but his reputation
rests upon his many portraits. In portraiture he was often beyond
criticism, giving the realistic representation with dignity, an
elevated spirit, and a suave brush. Even here he was more impressive
by his broad truth of facts than by his artistic feeling. He was not a
painter who could do things enthusiastically or excite enthusiasm in
the spectator.
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