Reynolds, Joshua - The Praying Samuel - Swiss art postcard

Art Postcard
• Work of art title: The Praying Samuel / Der Betende Samuel
• Artist (if known): Joshua Reynolds
• Media or other details:  painting
• Publisher / Gallery: Leo Bandschapp, Switzerland
• Postally used:  no
• Stamp & postmark details (if relevant): na
• Size: modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A743

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Postage & Packing:

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No additional charges for more than one postcard. You can buy as many postcards from me as you like and you will just pay the fee above once. Please wait for combined invoice. (If buying postcards with other things such as books, please contact or wait for invoice before paying).

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NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

I will give a full refund if you are not fully satisfied with the postcard.

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Sir Joshua Reynolds PRA FRS FRSA (/'r?n?ldz/; 16 July 1723 – 23 February 1792) was an influential eighteenth-century English painter, specialising in portraits. 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, and was knighted by George III in 1769.

Reynolds was born in Plympton, Devon, on 16 July 1723^[1] the third son of the Rev. Samuel Reynolds, master of the Free Grammar School in the town. Samuel Reynolds had been a fellow of Balliol College, Oxford, but did not send any of his sons to the university.^[2] 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. In 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.^[3]

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, Marcus Antonius, Ovid, William Shakespeare, John Milton, Alexander Pope, John Dryden, Joseph Addison, Richard Steele, Aphra Behn, and passages on art theory by Leonardo da Vinci, Charles Alphonse Du Fresnoy, and André Félibien.^[1] The work that came to have the most influential impact on Reynolds was Jonathan Richardson's An Essay on the Theory of Painting (1715). Reynolds' annotated copy was lost for nearly two hundred years until it appeared in a Cambridge bookshop, inscribed with the signature ‘J. Reynolds Pictor’, and is now in the collection of the Royal Academy of Arts, London.^[1]

Having shown an early interest in art, Reynolds was apprenticed in 1740 to the fashionable London portrait painter Thomas Hudson, who had been born in Devon.^[2] Hudson had a collection of old master drawings, including some by Guercino, of which Reynolds made copies.^[2] Although apprenticed to Hudson for four years, Reynolds only remained with him until summer 1743.^[2] Having left Hudson, Reynolds worked for some time as a portrait-painter in Plymouth Dock (now Devonport). He returned to London before the end of 1744, but following his father's death in late 1745 he shared a house in Plymouth Dock with his sisters.^[2]

In 1749, Reynolds met Commodore Augustus Keppel, who invited him to join HMS Centurion, of which he had command, on a voyage to the Mediterranean. While with the ship he visited Lisbon, Cadiz, Algiers, and Minorca. From Minorca he travelled to Livorno in Italy, and then to Rome,^[4] where he spent two years,^[5] studying the Old Masters and acquiring a taste for the ""Grand Style"".^{[citation needed]} Lord Edgecumbe, who had known Reynolds as a boy and introduced him to Keppel, suggested he should study with Pompeo Batoni, the leading painter in Rome, but Reynolds replied that he had nothing to learn from him.^[2] While in Rome he suffered a severe cold, which left him partially deaf, and, as a result, he began to carry a small ear trumpet with which he is often pictured.

Reynolds travelled homeward overland via Florence, Bologna, Venice,^[6] and Paris.^[7] He was accompanied by Giuseppe Marchi, then aged about 17.^[8] Apart from a brief interlude in 1770, Marchi remained in Reynolds' employment as a studio assistant for the rest of the artist's career.^[8] Following his arrival in England in October 1752, Reynolds spent three months in Devon,^[9] before establishing himself in London, where remained for the rest of his life. He took rooms in St Martin's Lane, before moving to Great Newport Street, his sister Frances acted as his housekeeper.^[9] He achieved success rapidly, and was extremely prolific.^[10] Lord Edgecumbe recommended the Duke of Devonshire and Duke of Grafton to sit for him, and other peers followed, including the Duke of Cumberland, third son of George II,^[11] in whose portrait, according to Nicholas Penny ""bulk is brilliantly converted into power"".^[11] In 1760 Reynolds moved into a large house, with space to show his works and accommodate his assistants, on the west side of Leicester Fields (now Leicester Square).^[12]

type=printed postcards

theme=artists signed

sub-theme=art

number of items=single

period=1945 - present

postage condition=unposted