See Joshua Reynolds paintings of the Lascelles family as never before at Harewood House in Reynolds Reframed
“The Lascelles family were from new money and therefore part of the aspiring classes and they wanted to look like part of the establishment,” explains Harewood curator and archivist Rebecca Burton. “Reynolds was painting all the major families and so the Lascelles would have travelled to his octagonal studio on Leicester Square for sittings and Reynolds would include things to reinforce the idea of their status.”
Now, to mark 300 years since the birth of the renowned eighteenth-century painter and co-founder of the Royal Academy, Harewood House Trust has launched an exhibition for 2023, exploring his work and role in constructing power and identity through portraiture in the age of Empire.
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Hide AdReframing Reynolds will explores the painter’s work in a new light, through the lens of the portraits he painted of the Lascelles family.
These works will be re-displayed in new ways across the State Floor, giving visitors the chance to get up close to some of Reynolds’ iconic works.
"The exhibition disrupts centuries-old narratives, exploring and questioning the visual stories Reynolds told within his extraordinary paintings,” explains Burton.
Reynolds’ relationship with the Lascelles family began in the early 1760s and spanned a period of more than 20 years.
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Hide Ad"It was a time that coincided with both Reynolds’ most successful years as an artist, and the Lascelles family’s rise in social prominence.
"Whilst artists had always sought to flatter their sitters, Reynolds’ innovative style of portraiture developed a dual purpose – to simultaneously idealise his clients, but also capture and convey their unique character – it allowed them to stretch the truth about who they were." It was the original form of filters, favoured by influencers of today.
“Working at the height of the British Empire, new sources of wealth created an aspiring class, which included families such as the Lascelles, who looked to project an identity and self-image that legitamised their new-found wealth, status and power through their commissioned portraits.”
Reframing Reynolds displays six of these portraits, which includes the celebrated full-length portraits of Lady Worsley and her sister, Lady Harrington, as well as Reynolds’ exceptional full-length portrait of Mrs Hale, depicted as the Greek goddess Euphrosyne, in the Music Room. “What Reynolds was doing broke the mold, it was so different from how other painters were depicting people at the time.”