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The 'grand manner' portraiture so closely associated with Reynolds is commonly seen to have precluded a slavish imitation of contemporary fashion – particularly in female portraits – and to have relied instead on fusing the traces of modern dress with more 'timeless' forms of classical drapery. Many of the artist's portraits confirm that this was the case; others, however, reveal a fascinating engagement with the most up-to-date details of modern clothing.

 

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Industry and Idleness (Plate 11)
Industry and Idleness (Plate 12)
March of the Guards
The Cock Pit
All images © British Library

1.Valentine Green after Sir Joshua Reynolds, Lady Jane Halliday, 1779.
2.Thomas Watson after Sir Joshua Reynolds, Lady Catherine Bampfylde, 1779.
3.Valentine Green after Sir Joshua Reynolds, The Waldegrave Sisters, 1781.
4.Valentine Green after Sir Joshua Reynolds, Georgiana, Duchess of Devonshire, 1780.
5.Valentine Green after Sir Joshua Reynolds, Jane, Countess of Harrington, 1780.