Portrait of Mrs. George Collier, previewed as a 16 by 20 inch giclée reproduction.

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Joshua Reynolds

English, 1723–1792

Portrait of Mrs. George Collier18th century

oil on canvas

Framed: 112 x 101 x 12 cm (44 1/8 x 39 3/4 x 4 3/4 in.); Unframed: 80 x 67.3 cm (31 1/2 x 26 1/2 in.)

Courtesy of the Cleveland Museum of Art · 1920.514

Given to the Cleveland Museum in 1920 by the collector Jeptha H. Wade, this painting was thought to be an authentic work by Joshua Reynolds. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size
Size
16 × 20 in · image 13¾ × 16¾
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

Given to the Cleveland Museum in 1920 by the collector Jeptha H. Wade, this painting was thought to be an authentic work by Joshua Reynolds. However, after considerable study, the museum attributed it to a follower of Reynolds working in a similar style around the same time. This portrait depicts the wife of the captain (and later admiral) George Collier. The artist draws an analogy between this woman and Lesbia, a married woman who provided much artistic inspiration for the Roman poet Catullus (c. 84–c. 54 BC). The poet's writings document a love affair with Lesbia, and one poem in particular documents the death of the woman's beloved pet sparrow. The viewer can barely see the sparrow in this painting, since it lies on a table partially obscured by her right elbow. The muted colors evoke a sense of melancholy as the woman mourns with her head turned away from the viewer.

Text from the Cleveland Museum of Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Joshua Reynolds

English, 1723–1792 · Born in Plympton; died in London.

Reynolds trained in London under Thomas Hudson, then spent two years in Italy studying the old masters, an experience that shaped his ambition to raise portraiture to the dignity of history painting. He became the leading portraitist of Georgian society and, in 1768, the first President of the Royal Academy. His Discourses to its students set out the principles of the Grand Manner and remained influential long after his death.

Written by Ochre Editions.

See all 5 works by Joshua Reynolds

Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1920.514
Credit
Courtesy of the Cleveland Museum of Art
Type
Painting
Department
European Painting and Sculpture
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