Introduction
Jonathan Richardson the Elder (1665-1745) stands as a pivotal figure in the landscape of early 18th-century British art. Born on January 12, 1665, and passing away on May 28, 1745, Richardson navigated the burgeoning London art scene not merely as a practitioner but as a thinker, collector, and influential voice. He rose to become one of the most respected portrait painters of his generation, a foundational theorist whose writings shaped the discourse on art in England, and an avid collector whose connoisseurship informed his practice and publications. His multifaceted career unfolded during a period of significant cultural and intellectual change, often associated with the English Enlightenment, and his work reflects the era's evolving ideals of taste, virtue, and the role of the arts in society.
Early Life and Artistic Formation
Jonathan Richardson's journey into the world of art began not through an early predetermined path but followed an initial apprenticeship in scrivening, a profession tied to legal copying. However, his artistic inclinations eventually led him to the studio of John Riley (c. 1646–1691), a prominent portrait painter who held the position of Principal Painter jointly with Sir Godfrey Kneller towards the end of his life. Riley's tutelage provided Richardson with a solid grounding in the techniques of portraiture prevalent in late Stuart England, likely emphasizing careful observation and competent execution, though perhaps lacking the continental flair of Kneller.
Following Riley's death in 1691, Richardson established his own practice in London. He gradually built a reputation for his skill and reliability, attracting a clientele that included notable figures from the intellectual, social, and political spheres. His early career coincided with the dominance of Sir Godfrey Kneller, whose studio produced portraits with remarkable efficiency and a certain baroque grandeur. Richardson offered a different, perhaps more sober and introspective, approach to portraiture, which found favour with patrons seeking likeness combined with a sense of character.
The Portraitist
Richardson emerged as one of the leading portrait painters in London during the early decades of the 18th century, a period bridging the late Baroque and the nascent Rococo and Neoclassical sensibilities. His contemporaries recognized his stature, often placing him alongside figures like Thomas Hudson and George Knapton as the preeminent native-born portraitists of their time, distinct from the slightly earlier generation dominated by the German-born Kneller and the Swedish-born Michael Dahl.
Richardson's portrait style is often characterized by its directness and psychological acuity. While capable of depicting the requisite social standing through costume and pose, his work frequently emphasizes the sitter's individuality and intellectual presence. He was particularly praised for achieving a strong "likeness," a quality highly valued by patrons. His drawing was considered robust and accurate, forming the backbone of his painted portraits. Unlike the sometimes flamboyant brushwork of Kneller, Richardson's handling could be more measured, focusing on solid form and careful modeling.
His sitters included prominent individuals such as the physician and collector Sir Hans Sloane, whose vast collections would form the basis of the British Museum. Portraits of literary figures like Alexander Pope and Matthew Prior also feature in his oeuvre, reflecting his connections within London's intellectual circles. These works often convey a sense of quiet dignity and thoughtful introspection, aligning with the values of the educated elite of the Augustan age. Richardson's approach aimed not just to record features but to suggest the sitter's inner life and moral character, reflecting his theoretical belief in art's capacity to elevate the mind.
Mastering the Self-Portrait
A particularly fascinating aspect of Richardson's output is his series of self-portraits, especially those created in his later years, often executed in chalk or graphite rather than oil. These works offer an intimate glimpse into the artist's self-perception and his engagement with the very act of representation. Far from being mere technical exercises, these drawings are imbued with a profound sense of introspection and self-analysis. Richardson seems to use the process of depicting himself as a means of exploring his own identity, aging, and artistic persona.
These self-portraits stand as significant examples of early modern self-representation in Britain. In an era before the widespread romantic notion of the artist as a tormented genius, Richardson presents himself as a thoughtful, dignified professional, yet one deeply engaged with the intellectual and emotional dimensions of his craft. He explicitly connected the act of drawing, particularly self-portraiture, with poetry, viewing both as forms of self-expression and reflection. This series reveals his enduring commitment to drawing ('design') as the foundation of art, a principle he championed throughout his theoretical writings. The honesty and lack of vanity in many of these late self-portraits are particularly striking.
Founding English Art Theory
Beyond his accomplishments as a painter, Jonathan Richardson holds a crucial place as one of the founding fathers of English art theory. His most significant contribution in this realm was An Essay on the Theory of Painting, first published in 1715 and later revised and expanded. This work is widely regarded as a landmark text, arguably the first systematic and ambitious treatise on art theory written in the English language by a practicing artist.
In the Essay, Richardson sought to elevate the status of painting in Britain. He argued passionately against the prevailing notion that painting was merely a decorative craft or a "pleasing superfluity." Instead, he positioned it as a liberal art, a demanding intellectual pursuit capable of conveying complex ideas, promoting virtue, and refining the human spirit. He asserted that painting, like poetry, could engage the highest faculties of the mind and deserved serious study and appreciation. This defense of painting's intellectual and moral worth was crucial in a cultural environment often perceived as prioritizing literature over the visual arts.
Richardson's Essay provided a framework for understanding and evaluating paintings, aimed not only at fellow artists but also at collectors and connoisseurs – the 'gentlemen' whose taste and patronage were vital to the art world. He believed that a proper understanding of art principles was essential for both its creation and its appreciation, contributing to the development of a more informed and discerning public.
Core Tenets of Richardson's Theory
Central to Richardson's Essay on the Theory of Painting was his structured approach to analyzing the components of a successful artwork. He identified seven principal parts or elements that contribute to a painting's overall quality: Invention (the choice and conception of the subject), Expression (the depiction of emotions and passions), Composition (the arrangement of figures and objects), Design or Drawing (the accuracy and grace of outlines and forms), Colouring (the use of hue, tone, and harmony), Handling (the manner of applying paint, the brushwork), and Grace and Greatness (less tangible qualities related to elegance, nobility, and overall impact).
Richardson placed particular emphasis on 'Design' or Drawing, viewing it as the bedrock of painting. He also delved into concepts that would become central to later aesthetic debates. He was among the first English writers to systematically discuss the 'Sublime' in painting, describing it as an effect that transcends rules and inspires awe, often associated with grand themes and powerful execution. This concept, later famously elaborated by Edmund Burke, found early articulation in Richardson's work. He contrasted the Sublime with 'Grace,' which related more to elegance and beauty of form. 'Greatness' encompassed the overall nobility and intellectual weight of a work.
His theories were informed by his deep admiration for the Old Masters, particularly Raphael, whom he considered an exemplar of many of the highest artistic virtues. He encouraged artists and connoisseurs to study these masters diligently. Richardson argued that painters should aim to improve upon nature, selecting its best aspects and correcting its flaws to achieve an ideal beauty, a Neoplatonic idea filtered through Renaissance and Baroque art theory. His framework provided a vocabulary and a set of criteria for discussing art seriously.
Further Theoretical Contributions
Richardson's theoretical output was not limited to the Essay on the Theory of Painting. In 1719, he published Two Discourses. The first offered arguments for the utility and dignity of painting, further developing themes from his earlier Essay. The second provided practical advice on connoisseurship, titled An Argument in behalf of the Science of a Connoisseur, aiming to equip collectors and enthusiasts with the knowledge needed to discern quality and authenticity, particularly in Old Master drawings, which he avidly collected.
These discourses reinforced his mission to cultivate artistic taste and understanding in England. He believed that connoisseurship was not merely a pastime but a 'science' requiring dedicated study and refined judgment. By providing guidelines for assessing drawings – looking at line quality, understanding different schools, recognizing artists' 'manners' – he contributed significantly to the methodology of art appreciation and collecting in Britain.
Furthermore, Richardson collaborated with his son, Jonathan Richardson the Younger, on Explanatory Notes and Remarks on Milton's Paradise Lost (1734). While primarily a work of literary criticism, their commentary on John Milton's epic poem was deeply informed by their understanding of visual art, particularly history painting. They analyzed Milton's imagery and narrative structure using concepts borrowed from art theory, demonstrating the interconnectedness of the arts in their intellectual framework. This project further showcased Richardson's broad learning and his commitment to applying principles of taste and judgment across different creative fields.
Collaboration and the Grand Tour
The collaboration between Jonathan Richardson the Elder and his son, Jonathan Richardson the Younger (1694–1771), who was also a painter and writer, yielded another influential publication: An Account of Some of the Statues, Bas-reliefs, Drawings, and Pictures in Italy, &c. with Remarks (1722). This book emerged from the younger Richardson's travels but was very much a joint intellectual venture, reflecting the father's long-standing interest in Italian art, even though he himself never visited Italy.
Published at a time when the Grand Tour was becoming an essential part of a British gentleman's education, the Account served as a critical guide for travelers. It went beyond simple descriptions, offering aesthetic judgments and practical advice on what to see and how to appreciate the art treasures of Italy. The Richardsons provided commentary on classical sculpture, Renaissance and Baroque painting, and notable collections, applying the principles of connoisseurship and art theory they had developed.
The book was highly influential, shaping the viewing habits and artistic preferences of generations of British Grand Tourists. It helped to codify a canon of must-see artworks and promoted a particular way of looking at and evaluating Italian art, emphasizing qualities like classical restraint, noble sentiment, and technical mastery, often favouring artists like Raphael and the Bolognese school. Its success underscored the Richardsons' authority as arbiters of taste and contributed to the dissemination of classical and Renaissance ideals within British culture.
The Collector and Connoisseur
Jonathan Richardson was not only a painter and theorist but also one of the most important collectors of his time, particularly renowned for his extensive collection of Old Master drawings. He amassed thousands of drawings attributed to masters such as Raphael, Michelangelo, Rembrandt, and Rubens. This activity was deeply intertwined with his theoretical work and his painting practice. Studying drawings firsthand was, for Richardson, essential for understanding an artist's 'manner,' developing one's own skill, and cultivating the 'science of a connoisseur.'
His collection served as a private academy, a resource for his own study and potentially for his pupils. He believed that direct engagement with original works by great masters was far more instructive than relying on prints or copies. His Two Discourses (1719), particularly the second on connoisseurship, drew heavily on his experiences as a collector, offering insights into attribution, quality assessment, and the characteristics of different artistic schools, primarily based on drawing styles.
Richardson's status as a leading connoisseur further enhanced his reputation and authority within the London art world. His collection was famous, and its eventual dispersal after his death in a series of sales beginning in 1747 was a major event, allowing other collectors, including prominent figures like Thomas Hudson and Joshua Reynolds, to acquire significant works. His passion for collecting, coupled with his systematic approach to connoisseurship, played a vital role in establishing standards for art collecting and appreciation in 18th-century Britain.
Navigating the Art World: Contemporaries and Competition
The London art world in which Richardson operated was dynamic and competitive. While he achieved considerable success and respect, he constantly navigated relationships with fellow artists. His primary competitors in the field of portraiture included the established Sir Godfrey Kneller, whose studio dominated the market for much of Richardson's early career, and Michael Dahl, another successful portraitist of foreign origin. Richardson positioned himself as a leading native talent, perhaps implicitly contrasting his more solid, thoughtful style with what some might have seen as the occasionally formulaic output of larger studios.
He was recognized alongside Thomas Hudson (his former pupil) and George Knapton as being among the top tier of English-born painters of his time. The relationship with Hudson is particularly interesting; having trained Hudson, Richardson later saw him become a highly successful rival, eventually surpassing him in fashionable appeal and attracting prominent patrons, including the royal family. This dynamic highlights the shifting tastes and competitive pressures of the period.
Richardson's theoretical writings also placed him in a position of intellectual leadership, which could inspire both admiration and potential friction. While his ideas profoundly influenced younger artists like Joshua Reynolds, they also inevitably invited comparison and critique from his peers. His efforts to systematize taste and judgment, while influential, might have been viewed by some contemporaries as overly prescriptive. Nonetheless, his ability to excel as both a respected painter and a leading theorist gave him a unique standing. He engaged in the artistic debates of his time not just through his brush, but through his influential publications.
Teacher and Mentor
Richardson's role as an educator extended beyond his theoretical writings. He maintained a studio where he trained apprentices, passing on his skills and, presumably, his artistic principles. His most famous pupil was Thomas Hudson (1701–1779). Hudson absorbed Richardson's solid technique and professional approach, becoming a highly successful portrait painter in his own right during the mid-18th century. Hudson, in turn, would become the master of Sir Joshua Reynolds (1723–1792).
This lineage – Richardson teaching Hudson, who taught Reynolds – is significant. It establishes Richardson as a key figure at the fountainhead of a major tradition in British portraiture that culminated in Reynolds, the first President of the Royal Academy. While Reynolds developed his own distinct, more dynamic and historically informed style, the emphasis on solid drawing, thoughtful characterization, and the intellectual dignity of the artist, all central to Richardson's ethos, can be seen as foundational elements passed down through this pedagogical chain. Richardson's influence, therefore, was transmitted not only through his widely read books but also through direct instruction that shaped the next generation of leading British painters.
Influence and Legacy
Jonathan Richardson's impact on British art was substantial and enduring. His Essay on the Theory of Painting remained a standard text for decades, profoundly shaping the way artists, collectors, and critics thought and wrote about art in Britain. Its influence on Sir Joshua Reynolds is undeniable; Reynolds read Richardson's Essay as a young man, and it reportedly inspired him to pursue painting seriously. Many of the themes Reynolds later explored in his famous Discourses on Art, delivered at the Royal Academy – such as the importance of studying the Old Masters, the pursuit of ideal beauty, the intellectual status of the artist, and the concept of 'Grace' – echo ideas first systematically articulated for an English audience by Richardson.
As a portraitist, Richardson helped establish a distinctly British approach characterized by solid craftsmanship, psychological insight, and a certain moral seriousness, providing an alternative to the more flamboyant continental styles. His emphasis on character over mere flattery resonated with the values of the British Enlightenment. His numerous self-portraits also contributed to the development of that genre in Britain.
Furthermore, his work as a connoisseur and collector, particularly of drawings, alongside his publications like the Account of Italian art, helped to cultivate taste and knowledge among British patrons and travelers. He played a key role in promoting the appreciation of Old Masters and establishing methodologies for art criticism and collecting. His activities contributed significantly to raising the overall profile and intellectual respectability of the visual arts in Great Britain, laying crucial groundwork for the establishment of the Royal Academy in 1768, over two decades after his death. His influence even extended internationally, with his theoretical ideas and the portrait style he represented impacting artistic developments in colonial America.
Criticism and Nuance
Despite his significant contributions and influence, Richardson was not without his critics, both during his lifetime and posthumously. Some later commentators found his painting style somewhat stiff or dry compared to the emerging Rococo lightness or the later grandeur of Reynolds. His theoretical writings, while groundbreaking, have also faced scrutiny. Certain critics felt his approach could be overly prescriptive or abstract, detached from the immediate sensory experience of art.
His emphasis on moral virtue and idealization led some to characterize his theories as overly idealistic or even "romanticized," perhaps overlooking the complexities and ambiguities inherent in artistic creation and reception. The very systematic nature of his "seven parts of painting," while providing clarity, could also be seen as reducing the artistic process to a formula. Furthermore, his strong preference for certain Old Masters, particularly those of the High Renaissance and Bolognese schools, reflected the taste of his time but might appear limited from a modern perspective that embraces a wider range of artistic styles and periods.
Acknowledging these criticisms provides a more nuanced understanding of Richardson's position. He was a product of his time, reflecting the specific intellectual currents of the English Enlightenment, including its emphasis on reason, order, and moral didacticism. While his solutions and pronouncements may not universally resonate today, his earnest attempt to create a coherent and elevated framework for understanding and practicing art in Britain remains a remarkable achievement.
Richardson and the Enlightenment
Jonathan Richardson's career and intellectual output are deeply embedded in the context of the English Enlightenment. His emphasis on reason, empirical observation (in achieving likeness), and systematic analysis (in his art theory) aligns with key Enlightenment values. His desire to establish clear principles for art and taste reflects the era's broader project of ordering knowledge and refining society. His defense of painting as an intellectual and moral pursuit, capable of cultivating virtue and improving the mind, connects directly to Enlightenment ideals about the role of culture in public life.
His persona as a learned artist, collector, and writer also fits the emerging model of the 'gentleman' professional – educated, rational, and contributing to public discourse. His writings, aimed at both artists and connoisseurs, sought to foster a shared understanding and appreciation of art based on informed judgment rather than mere fashion or aristocratic whim. This aligns with the Enlightenment's democratizing impulse, seeking to broaden access to knowledge and culture. Furthermore, his work, particularly his emphasis on character and inner virtue in portraiture, can be seen as reflecting Lockean ideas about individual identity and consciousness that were influential during the period.
Conclusion
Jonathan Richardson the Elder was far more than just a competent portrait painter of the early Georgian period. He was a foundational figure who profoundly shaped the trajectory of British art through his practice, his theoretical writings, and his activities as a collector and connoisseur. His portraits offered a compelling blend of accurate likeness and psychological depth, setting a standard for native British portraiture. His Essay on the Theory of Painting and other writings established a critical vocabulary and conceptual framework for discussing art in English, elevating its status and influencing generations of artists, most notably Sir Joshua Reynolds.
As an educator, mentor, and collaborator with his son, he disseminated his ideas widely. His passion for collecting Old Master drawings informed his theories and set benchmarks for connoisseurship. While navigating a competitive art world and facing some criticism for his style or theoretical rigidity, Richardson's overall contribution remains immense. He stands as a key figure of the English Enlightenment, embodying its ideals of reason, virtue, and the pursuit of knowledge, and successfully applying them to the realm of visual art. His legacy lies in the increased professionalism, intellectual ambition, and critical self-awareness he fostered within the British art community.
