Elizabeth Gunning, Duchess of Hamilton and Argyll

A towering figure of 18th-century British art, Reynolds revolutionized portraiture by infusing it with the grandeur of history painting. Trained in Italy, he absorbed the techniques of Renaissance masters like Titian and Michelangelo, blending their dramatic use of light and composition with a distinctly modern psychological depth. His sitters—aristocrats, actors, and intellectuals alike—were rendered with a blend of flattery and keen observation, their poses often echoing classical statues or biblical scenes. This approach earned him acclaim, though it occasionally drew criticism for its idealized artifice. As the first president of the Royal Academy, Reynolds shaped artistic discourse through his *Discourses*, lectures advocating for the elevation of portraiture beyond mere likeness. He argued for "the great style," where moral and intellectual qualities took precedence over trivial details. Yet his own work balanced theory with warmth: the mischievous glint in *The Age of Innocence* or the weary dignity of *Dr. Samuel Johnson* reveal a painter who could transcend formalism. Despite losing his hearing in later life and facing rivalry from Gainsborough, his legacy endured. By merging Baroque dynamism with Enlightenment ideals, Reynolds bridged eras—his influence echoing in Constable’s landscapes and even the Romantic movement’s emotional intensity.