See Joshua Reynolds paintings of the Lascelles family as never before at Harewood House in Reynolds Reframed

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.

Reframing 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.

"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.”

Other works include the full-length portrait of Edwin Lascelles, who built Harewood House using profits made from the trades in sugar and slavery.

“We wanted to show these works, but in a very different way to how people normally view them at Harewood,” explains Burton

"Edwin had himself painted in a red coat looking aristocratic with an image of Harewood House in the background – Harewood wasn’t even completed when the portrait was painted – Reynolds is perpetuating a fallacy probably having been shown plans of Harewood by Edwin. It is propaganda, to make Edwin look powerful and legitimate.” But it isn’t just the painting that perpetuates this images of power.”

"The frame was gilded and with a coronet on the top to give the idea of superiority, also the fact it was hung high above the fire place was all about enforcing that air of superiority and power. So we decided to take him out of his frame and bring him literally down to earth so that we could see eye to eye with him to disrupt that powerful position. Some people say because he is actually larger than life size this has made him seem more powerful, but what is really important is that we discussing it at all.” Edwin will be returned to his frame and his position above the fire place once the exhibition is finished. “Even then having done this it will allow our staff and volunteers to tell his story in a different way having seen him like this.”

As all the portraits are important works and protected, the Harewood House Trust had special supervision when removing the portrait from its frame.

"It is always a little bit nerve-racking removing a painting of this age from its frame, as you never quite know what you are going to find. But we had conservationists here on site who are the best people to be involved with this type of thing, luckily all was well.

Burton added that they were keen to try to make the portraits relevant to a younger generation. Harewood’s Learning Team has created a Children’s Guide to Reframing Reynolds which will help younger visitors learn all about this famous painter, inspiring them to think about how grand portraits reflected on the sitter and 18th century society.

Day tickets to Harewood include access to Reframing Reynolds and visitors can also expect family-friendly trails and portraiture-related activities for younger visitors, as well as art-themed workshops for aspiring artists.

Darren Pih, Chief Curator and Artistic Director, commented: “As we mark 300 years since the birth of celebrated British artist Sir Joshua Reynolds, Harewood is excited to present Reframing Reynolds, a brand-new exhibition that explores his relevance for audiences today. The exhibition gives insights into the artist's innovative style and role in portraying power and status in the age of Empire. We hope that this exhibition will speak to visitors familiar with Reynolds’ work, whilst opening his work to new audiences as we demonstrate the continuing relevance of portraiture to address timely and contemporary themes.”

For more information and tickets, visit harewood.org.uk