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Our Exhibitions [The Royal Academy] have... a mischievous tendency, by seducing the Painter to an ambition of pleasing indiscriminately the mixed multitude of people who resort to them.

Joshua Reynolds

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Joshua Reynolds
Age: 69 †
Born: 1723
Born: January 1
Died: 1792
Died: January 1
Painter
Plympton St Mary
Sir Joshua Reynolds
Sir Joshua Reynold
Sir Joshua Raynolds
Sir Reynolds
Sir Joshua Reynolds RA
Joshua Reynolds Sir
J.
Sir Reynolds
Joshua
Sir Reynolds
Joshua Reynolds (Sir)
sir j. reynolds
S. J. Reynolds
Sir J. Reynods
j. reynolds
Sir J. Reynold
Sir J. Reynoulds
S.J. Reynolds
Sir Jos Reynolds
[Sir Joshua Reynolds]
Mr. Reynolds
Royal
Exhibitions
Tendency
Resort
Tendencies
Multitude
Painter
Resorts
Ambition
Pleasing
People
Academy
Indiscriminately
Multitudes
Mischievous
Mixed
Seducing

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Reform is a work of time a national taste, however wrong it may be, cannot be totally changed at once.
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A passion for his art, and an eager desire to excel, will more than supply an artist with the place of method.
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Simplicity is an exact mediumbetween too little and too much.
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Our studies will be forever, in a very great degree, under the direction of chance like travelers, we must take what we can get, and when we can get it - whether it is or is not administered to us in the most commodious manner, in the most proper place, or at the exact minute when we would wish to have it.
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Certainly, nothing can be more simple than monotony.
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It is to Titian we must turn our eyes to find excellence with regard to color, and light and shade, in the highest degree. He was both the first and the greatest master of this art. By a few strokes he knew how to mark the general image and character of whatever object he attempted.
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I do not see in what manner practice alone can be sufficient for the production of correct, excellent, and finished pictures. Works deserving this character never were produced, nor ever will arise, from memory alone.
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The painter of genius will not waste a moment upon those smaller objects which only serve to catch the sense, to divide the attention, and to counteract his great design of speaking to the heart.
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Style in painting is the same as in writing a power over materials, whether words or colors, by which conceptions or sentiments are conveyed.
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Nothing is denied to well-directed labor.
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An eye critically nice can only be formed by observing well-colored pictures with attention.
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A painter must compensate the natural deficiencies of his art. He has but one sentence to utter, but one moment to exhibit. He cannot, like the poet or historian, expatiate, and impress the mind.
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The mind is but a barren soil a soil which is soon exhausted, and will produce no crop, or only one, unless it be continually fertilized and enriched with foreign matter.
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While I recommend studying the art from artists, Nature is and must be the fountain which alone is inexhaustible, and from which all excellences must originally flow.
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Common observation and a plain understanding is the source of all art.
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Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.
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Whatever trips you make, you must still have nature in your eye.
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Every art, like our own, has in its composition fluctuating as well as fixed principles. It is an attentive inquiry into their difference that will enable us to determine how far we are influenced by custom and habit, and what is fixed in the nature of things.
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Martial music has sudden and strongly marked transitions from one note to another which that style of music requires while in that which is intended to move the softer passions, the notes imperceptibly melt into one another.
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A mere copier of nature can never produce any thing great, can never raise and enlarge the conceptions, or warm the heart of the spectator.
Joshua Reynolds