The Galerie du Temps at the Louvre-Lens A unique presentation of ...

Neoclassicism
14. Master Hare by sir Joshua Reynolds (1723-1792)
H. 77 cm. ; W. 63 cm.
Musée du Louvre, Department of Paintings, RF 1580
© 2007 Musée du Louvre / Angèle Dequier
Term of loan for display at the Louvre - Lens: 5 years
This portrait of Francis George Hare is the most famous picture
by Reynolds in France. A young boy with long hair, about two
years old, is shown wearing a very young child's clothes. He is
dressed in a chiffon outfit, as children of his age and class were.
This picture swiftly became famous, and is one of the archetypal
images of British art.
Simple portrait of innocence or a deeper reflection on the world of childhood?
It is rare to see such a natural pose in a portrait, even of a child. It is marvellous how Reynolds encapsulates the
innocence of this very young boy. His ringlets, his rosy cheeks, but above all the entirely free pose of his right
arm conspire to create a lively and spontaneous figure. The almost ethereal background of trees and greenery
only enhances the feelings of natural harmony, authenticity, and spontaneity. Reynolds creates a perfect setting
for this small boy, who looks beyond the frame at something in the distance that no one else can perceive. His
white skin, his bright eyes, and his dynamic pose contrast with the somber colors of the background. In creating
such a setting, Reynolds wished to demonstrate the primacy of a child's world that cares little for external
matters. The subtle echoes between the child's blond hair, the bronze reflections on the tree behind him, and the
material that forms the child's belt enliven the picture, thereby emphasizing the child's sweetness.
Childhood in a frame
Children's portraits are one of the glories of Reynolds's output. Some of them, like that of Penelope Boothby,
evoke the sweetness and poetry of childhood. Others highlight instead the humor or simplicity of childhood.
More elegant, more conventional, and less tender portraits by other artists serve to remind us how important
spontaneity was to Reynolds.
The tradition of the "great portrait" had already been subverted, particularly by Gainsborough, who painted a
famous portrait of a child, the Blue Boy. However, by reducing the size of the frame and abandoning the
necessity to show the person portrayed standing up, Gainsborough managed to allow a natural freshness to shine
through. When Reynolds's picture was engraved by Robert Thew in 1790, the engraving was given the title
Infancy, and it subsequently became the archetypal illustration of the young child type in England.
Reynolds: a major figure in English art
At the start of the eighteenth century, foreign artists dominated painting in England.To change this situation, it
was necessary to establish and promote native artists and to create a British art with unique characteristics. In
1768 the British Academy was founded in London. Its aims were rapidly crowned with success, due mainly to
frequent exhibitions.
Having striven for a long time to have British art recognized, Reynolds became the first president of the Royal
Academy. He promulgated a demanding Classical training, which we know about thanks to the discourses he
delivered to students at awards ceremonies, which were subsequently published. Recognized for his huge talent,
Reynolds was considered one of the greatest English painters at his death in 1792.
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