Jonathan Richardson (1667-1745) was one of 18th-century England's
most significant cultural figures. A leading portrait painter and
influential art theorist, he also amassed one of the period's
greatest collections of drawings. But there was another, highly
unusual dimension to his pursuits. In 1728, at the age of 61 and
shortly before his retirement from professional life, Richardson
began to create a remarkable series of self-portrait drawings. Not
intended for public display, these works were unguarded
explorations of his own character. In one of the most astonishing
projects of self-examination ever undertaken by an artist, for over
a decade Richardson repeatedly drew his own face. His self-portrait
drawings are usually dated precisely, and they document, from month
to month, his changing state of mind as much as his appearance.
Many were drawn in chalks on large sheets of blue paper, from his
reflection in the mirror. Some of these are bold and
psychologically penetrating, while others, in which he regards his
ageing features with gentle but unflinching scrutiny, are deeply
touching. A further group of self-portraits is drawn with graphite
on small sheets of fine vellum, and in these Richardson often
presents himself in inventive and humorous ways, such as in
profile, all'antica, as though on the face of a coin or medal; or
crowned with bays, like a celebrated poet. Sometimes, too, he
copies his image from oil paintings made decades earlier, in order
to recall his appearance as a younger man. In this extraordinary
series of self-portraits, Richardson offers a candid insight into
his mind and personality. Together, these drawings create nothing
less than a unique and compelling visual autobiography. This
publication - which accompanies the first ever exhibition devoted
to Richardson's self-portrait drawings, held in the new Gilbert and
Ildiko Butler Drawings Gallery at the Courtauld - tells the story
of these remarkable works Jonathan Richardson (1667-1745) was one
of 18th-century England's most significant cultural figures. A
leading portrait painter and influential art theorist, he also
amassed one of the period's greatest collections of drawings. But
there was another, highly unusual dimension to his pursuits. In
1728, at the age of 61 and shortly before his retirement from
professional life, Richardson began to create a remarkable series
of self-portrait drawings. Not intended for public display, these
works were unguarded explorations of his own character. In one of
the most astonishing projects of self-examination ever undertaken
by an artist, for over a decade Richardson repeatedly drew his own
face. His self-portrait drawings are usually dated precisely, and
they document, from month to month, his changing state of mind as
much as his appearance. Many were drawn in chalks on large sheets
of blue paper, from his reflection in the mirror. Some of these are
bold and psychologically penetrating, while others, in which he
regards his ageing features with gentle but unflinching scrutiny,
are deeply touching. A further group of self-portraits is drawn
with graphite on small sheets of fine vellum, and in these
Richardson often presents himself in inventive and humorous ways,
such as in profile, all'antica, as though on the face of a coin or
medal; or crowned with bays, like a celebrated poet. Sometimes,
too, he copies his image from oil paintings made decades earlier,
in order to recall his appearance as a younger man. In this
extraordinary series of self-portraits, Richardson offers a candid
insight into his mind and personality. Together, these drawings
create nothing less than a unique and compelling visual
autobiography. This publication - which accompanies the first ever
exhibition devoted to Richardson's self-portrait drawings, held in
the new Gilbert and Ildiko Butler Drawings Gallery at the Courtauld
- tells the story of these remarkable works and puts them into the
context of his other activities at this period of his life - in
particular the self-searching poems he wrote during the same years
and often on the same days as he made the drawings. An introductory
essay is followed by focused discussions of each work in the
exhibition. This part of the book explores the materials and
techniques Richardson used, whether working in chalks on a large
scale or creating exquisitely refined drawings on vellum. It will
also reveal how Richardson modeled some of his portraits on old
master prints and drawings, including works in his own collection
by Rembrandt and Bernini. The publication brings together the
Courtauld Gallery's fine collection of Richardson's drawings with
key works in the British Museum, the National Portrait Gallery and
the Fitzwilliam Museum.
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