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Student Artwork Guide

Robert Orme

Name Class Date

Sir Joshua Reynolds, Robert Orme. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Sir Joshua Reynolds wahooart.com/en/artists/sir-joshua-reynolds/
Artist’s dates
1723 – 1792
Movement
Rococo Light, playful, pastel-coloured pictures of leisure, made for private rooms rather than public halls.

In context

Robert Orme — Sir Joshua Reynolds

When might this have been painted?

  1. 1720
  2. 1730
  3. 1740
  4. 1750
  5. 1760
  6. 1770
  7. 1780
  8. 1790

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 69 at death.

Shaded: the lifetime of Sir Joshua Reynolds (1723–1792) every dated painting, decade by decade

First works: up to 1761 Main working years: 1761–1781 Late works: from 1781

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/sir-joshua-reynolds-robert-orme-7Z3PGD-en/

Colours

Measured from the image

    Main colour

    Black #191114

    Catalogued palette

    • #191114
    • #E2DCD1
    • #83776F
    • #5C3A2F

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Black
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Sir Joshua Reynolds over the last twelve months — 22 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 60.7%
    2. 2 Singapore 9.7%
    3. 3 United States of America 8.8%
    4. 4 Hong Kong 5.4%
    5. 5 Spain 4.4%
    6. 6 United Kingdom 2.0%
    7. 7 Romania 1.5%
    8. 8 Italy 1.2%
    9. 9 Mexico 1.2%
    10. 10 Brazil 1.0%
    11. · 12 other countries 4.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Sir Joshua Reynolds

    1. 1 Miss Bowles, 1775 2.6%
    2. 2 The Infant Samuel, 1776 1.7%
    3. 3 Mrs James Fortescue, née Mary Henrietta Hunter 1.4%
    4. 4 The Honorable Henry Fane (1739–1802) with Inigo Jones and Charles Blair, 1761 1.3%
    5. 5 Kitty Fisher as Cleopatra Dissolving the Pearl, 1759 1.1%
    6. 6 Francesco Bartolozzi (1727 1815) 1.1%
    7. 7 Mrs Siddons as the Tragic Muse, 1789 1.1%
    8. 8 Mr. James Bourdieu, 1765 1.0%
    9. 9 Miss Nelly O'Brien, 1762 1.0%
    10. 10 Lady Delm and her Children, 1780 1.0%
    11. 11 Miss Jane Bowles, 1775 1.0%
    12. 12 The Infant Hercules Strangling the Serpents, 1786 0.9%
    13. 13 Cupid Untying the Zone of Venus, 1788 0.9%
    14. 14 Sir Thomas Dyke Acland (1722–1785), 7th Bt, MP, 1767 0.9%
    15. 15 Mrs. Robinson, 1784 0.9%
    16. 16 The Infant Samuel at Prayer 0.9%
    17. 17 Mrs. John Weyland and Her Son John, 1776 0.7%
    18. 18 Garrick Between Tragedy and Comedy, 1761 0.7%
    19. 19 Portrait of a Lady in White, 1792 0.7%
    20. — Robert Orme this painting 0.0%

    Together these works take 20.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 861 works by this artist, of which 337 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Sir Joshua Reynolds

    Born in Plymouth, United Kingdom

    A Luminary of the Enlightenment: The Life and Art of Sir Joshua Reynolds

    Born in 1723 in the quaint Devonshire town of Plympton, Sir Joshua Reynolds emerged as a pivotal figure during a period of immense cultural transformation in Britain. His father, Reverend Samuel Reynolds, instilled in him a love for learning and intellectual pursuits, initially steering young Joshua towards a scholarly path. However, an undeniable artistic inclination soon surfaced, leading to his apprenticeship with Thomas Hudson in London at the age of seventeen. This formative experience provided Reynolds with a solid foundation in portraiture—a genre that would define his illustrious career. Hudson’s studio was a bustling hub of fashionable society, exposing Reynolds to the demands and expectations of aristocratic patrons, shaping not only his technique but also his understanding of the social landscape he would come to depict so masterfully. It wasn't merely about capturing likeness; it was about constructing an image that reflected status, taste, and aspiration.

    Forging a ‘Grand Style’ for British Portraiture

    Reynolds didn’t simply replicate what he learned from Hudson. He embarked on a journey of artistic exploration, fueled by a deep admiration for the Old Masters—particularly Raphael, Michelangelo, and Titian. A pivotal moment in his development was a sojourn to Rome in 1750, where he immersed himself in classical art and absorbed the principles of the ‘Grand Style’ – an approach that prioritized idealized beauty, dramatic composition, and historical or mythological allusions. Upon returning to England, Reynolds sought to elevate British portraiture beyond mere representation, infusing it with a sense of dignity and intellectual weight previously unseen. He believed that portraits should not just record physical appearances but also reveal the sitter's character and social standing. This ambition led him to incorporate elements of history painting into his work, often depicting his subjects in elaborate costumes or staged settings reminiscent of classical narratives. He wasn’t merely painting people; he was crafting enduring images of power, intellect, and refinement.

    The First President and Champion of the Royal Academy

    Reynolds' influence extended far beyond his own canvas. In 1768, he became a founding member of the Royal Academy of Arts, and crucially, its first president—a position he held until his death in 1792. This was a watershed moment for British art, establishing an institution dedicated to fostering artistic talent and promoting national identity. Reynolds tirelessly advocated for the importance of art education and championed the recognition of artists as professionals deserving of respect and patronage. His annual Discourses – lectures delivered to Academy students – became seminal texts on artistic theory and practice, outlining his vision for a distinctly British school of painting. He stressed the importance of studying nature, mastering technique, and cultivating imagination, urging artists to strive for originality while remaining grounded in tradition. Reynolds’ leadership transformed the landscape of British art, elevating its status and laying the foundation for future generations of artistic innovation.

    Capturing an Era: Notable Works and Enduring Legacy

    Reynolds' prolific output encompassed portraits of some of the most prominent figures of 18th-century Britain—members of the aristocracy, literary luminaries, and military heroes. His portrait of Duke of Devonshire, for example, exudes an air of aristocratic power and sophistication, while his depiction of Peter Darnell Muilman, Charles Crokatt and William Keable in a Landscape showcases his ability to integrate figures seamlessly into natural settings. Mr and Mrs William Lindow is another compelling example of his skill in capturing the intimacy and social dynamics of family life. Beyond individual portraits, Reynolds also excelled at group compositions, skillfully arranging multiple figures within a single frame to create dynamic and engaging narratives. His work wasn’t simply about technical proficiency; it was about storytelling—about conveying the essence of an era through carefully constructed images.

    Reynolds' impact on British art is immeasurable. He not only established portraiture as a respected genre but also helped shape the cultural identity of a nation undergoing rapid social and political change. His emphasis on the ‘Grand Style’ inspired generations of artists, while his leadership of the Royal Academy laid the groundwork for the development of a thriving artistic community. Today, his paintings continue to captivate audiences with their elegance, psychological depth, and historical significance—a testament to the enduring power of his vision and artistry. His works can be found in prestigious collections worldwide, including the Tate Britain in London and the Royal Collection at Hampton Court, ensuring that his legacy will continue to inspire and inform for centuries to come.

    Where to read more

    Find this online

    QR code linking to the download page for Robert Orme

    wahooart.com/en/art/download/sir-joshua-reynolds-robert-orme-7Z3PGD-en/

    Cite this artwork

    MLA
    Reynolds, Sir Joshua. Robert Orme. n.d., https://wahooart.com/en/art/sir-joshua-reynolds-robert-orme-7Z3PGD-en/
    APA
    Reynolds, Sir Joshua (n.d.). Robert Orme [Painting]. https://wahooart.com/en/art/sir-joshua-reynolds-robert-orme-7Z3PGD-en/
    Chicago
    Sir Joshua Reynolds. Robert Orme. n.d. https://wahooart.com/en/art/sir-joshua-reynolds-robert-orme-7Z3PGD-en/
    Harvard
    Reynolds, Sir Joshua (n.d.) Robert Orme. Available at: https://wahooart.com/en/art/sir-joshua-reynolds-robert-orme-7Z3PGD-en/

    Look closely

    Robert Orme — Sir Joshua Reynolds

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: portrait, equestrian, baroque. Do you agree? What would you add, or take away?
    5. Look back at Lady Frances Finch (1782), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Who sells hand-painted copies of "Robert Orme" by Sir Joshua Reynolds?

    Hand-painted copies of "Robert Orme" by Sir Joshua Reynolds are sold on this website: a hand-painted oil reproduction on linen canvas, ordered from its Hand-Painted Reproduction page.

    How do movement and era meet in "Robert Orme" by Sir Joshua Reynolds?

    "Robert Orme" by Sir Joshua Reynolds is placed in the Rococo movement, within the Early-Modern era of its creator.

    What explains the copyright situation of "Robert Orme" by Sir Joshua Reynolds?

    The copyright status of "Robert Orme" - in the public domain - its copyright has expired - follows from the artist's death in 1792.