The Ladies Waldegrave 1780-81 Sir Joshua Reynolds The three Waldegrave sisters were painted for their great uncle, Horace Walpole, to hang in his celebrated house in Strawberry Hill. The sisters, all of whom were to marry in the following years, were single when the painting was commissioned. Exhibited at the Royal Academy in 1781, advertised their eligibility, desirability. Individually and collectively, the Waldegrave sisters embody contemporary ideals of feminine accomplishment and style
Sir William Chambers; Joseph Wilton; Sir Joshua Reynolds, 1782, by John Francis Rigaud. Sitters: Sir William Chambers (1722 or 1723-1796), Architect. Sir Joshua Reynolds (1723-1792), Painter and first President of the Royal Academy. Joseph Wilton (1722-1803), Sculptor.
Sir Joshua Reynolds was one of the most important and influential of 18th century English painters, specializing in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect. He was one of the founders and first President of the Royal Academy. George III appreciated his merits and knighted him in 1769.
Sir William Chambers RA (1723-1796) was a Swedish architect, based in London. Among his best known works are Somerset House, London, and the pagoda at Kew. Also the Dunmore Pineapple and Dundas House. He was a founder member of the Royal Academy.
Etienne Aubry, 1768-1778 This portrait is of Charles-Claude de Flauhaut de la Billarderie, Superintendent of the King's Buildings from 1774 until the Revolution. Flauhaut preferred a "grand style" in architecture. He fostered young artists and contributed largely to the creation of the Museum of the Louvre, by projecting the work of the grande galerie and actively completing the Royal collections.
David Garrick with his Wife Eva-Maria Veigel, William Hogarth, 1757-1764. Painted for Garrick, but refused by him. Damaged by Hogarth after whose death it was repaired; presented by Mrs H to Mrs G;artist and sitter quarrelled over this portrait. Garrick was displeased with his likeness and there are signs that Hogarth scored through the eyes. Although Garrick paid 15 pounds for the painting in 1763, it was in Hogarth's studio at the time of the artist's death in the following year.