In the vibrant tapestry of art and history, Harewood House stands as a significant landmark, reflecting the legacy of the Lascelles family. The elegant country house, nestled in Harewood, West Yorkshire, England, is more than just an architectural marvel—it's a repository of stories, personalities, and the masterful strokes of celebrated artist Sir Joshua Reynolds. As we commemorate the 300th birth anniversary of Reynolds, Harewood House embarks on a journey to unveil the profound artistic contributions and socio-historical narratives embodied within six remarkable portraits of the Lascelles family. I had the pleasure of revisiting Harewood House yesterday to explore this remarkable exhibition. Join me as we embark on a journey through its captivating displays:

Content Warning: Mention of/content relating to the Transatlantic trade of enslaved African people.

Harewood House

Harewood House, located in Harewood, West Yorkshire, England, is a grand country estate with a rich history. Crafted by architects John Carr and Robert Adam, its construction took place from 1759 to 1771, commissioned by Edwin Lascelles, the 1st Baron Harewood, who was known for his wealth derived from West Indian plantations and slave ownership. The renowned landscape architect Lancelot "Capability" Brown designed the sprawling 1,000 acre grounds that surround Harewood House.

Continuing to serve as the residence of the Lascelles family, Harewood House is a distinguished member of the Treasure Houses of England, a collective that highlights ten of the nation's most significant historic homes.

Harewood House serves as the ancestral residence of the Lascelles family and is currently inhabited by David Lascelles, the eighth Earl. Through careful management by Harewood House Trust, the house and its extensive grounds have been placed under a trust ownership structure. This arrangement allows the public to explore the estate for a significant portion of the year. Within the walls of Harewood House, an impressive collection of artworks awaits. It includes paintings from the Italian Renaissance by celebrated masters, alongside family portraits skillfully rendered by artists such as Sir Joshua Reynolds, John Hoppner, and Sir Thomas Lawrence. Additionally, modern art amassed by the 7th Earl and Countess adds a contemporary touch to the collection. To further enhance the visitor experience, the Terrace Gallery hosts rotating temporary exhibitions throughout the seasons.

The Lascelles Family

At the heart of this exhibition lies a captivating narrative that intertwines art, history, and identity. The relationship between Sir Joshua Reynolds and the Lascelles family is a fascinating chapter in the tapestry of British history. Stretching over two decades, Reynolds' artistic journey mirrored the ascent of the Lascelles family, a time when their social prominence was on the rise. Edwin Lascelles, the visionary behind Harewood House, orchestrated a symphony of architectural brilliance, enlisting the talents of renowned architects and designers of his era. Amid this artistic landscape, Reynolds played a pivotal role in shaping the family's identity and aspirations, capturing both their idealized grandeur and unique personalities. As we step into the world of the Lascelles family through these portraits, we uncover the intricate threads that connect art, heritage, and the evolving societal dynamics of the time.

So… who is Sir Joshua Reynolds?

Sir Joshua Reynolds

Contained within the ornate frames of these portraits is the embodiment of Sir Joshua Reynolds' artistic genius, a testament to his innovative approach that transcended the boundaries of traditional portraiture. Reynolds, a luminary of his era, deftly melded his artistic prowess with the evolving aspirations of the Lascelles family. His masterful strokes on the canvas went beyond a mere replication of physical appearances; instead, they delved into the intricacies of personality, capturing the very essence of his subjects.

Reynolds' revolutionary approach introduced a new dimension to portraiture, one that straddled the line between idealization and realism. His compositions were far from mundane; they were meticulously choreographed scenes, suffused with symbolism, a dash of theatrics, and a profound connection to classical aesthetics. The result was what he famously termed the "Grand Style," a visual language that skillfully intertwined the nobility of ancient art with the burgeoning sophistication of his contemporary world.

As we immerse ourselves in Reynolds' works, we bear witness to a pivotal era in history. With the backdrop of the British Empire's peak, Reynolds' artistic ingenuity was put to work to visually shape the identity of an emerging social class. This period saw the rise of wealth and aspirations, and families like the Lascelles sought a visual representation that could mirror and magnify their newfound status. Reynolds' artistry became a bridge between the traditional past and the dynamic present, encapsulating the essence of an era in every brushstroke.

The exhibition at Harewood House unveils not just individual portraits, but a collective narrative that reflects the artist's symbiotic relationship with the Lascelles family. As we stand before these canvases, we embark on a journey through time, peeling back the layers of history to understand how Reynolds' work served as both a mirror to society and a tool for crafting aspirational self-images. Each stroke, each gaze captured by Reynolds, reverberates with the aspirations, dreams, and societal nuances of an epoch that continues to shape our understanding of art and identity today.

Reynolds & His Studio

Nestled within the elegant confines of 'Watercolor Room 2,' a captivating journey through time awaited visitors. Here, the past was reconstructed with meticulous detail, offering a glimpse into the inner sanctum of Sir Joshua Reynolds' creative world. This was no ordinary room; it was a portal to the artist's studio, a place where masterpieces were conceived, and history was captured on canvas. The recreation transported us to an era of artistic ingenuity, inviting us to witness a sitting through the eyes of the artist. The very air seemed to resonate with echoes of conversations, the rustling of fabric, and the dance of brushstrokes across canvas. As we stepped into this immersive experience, we were immersed in the sights and sounds of the past, gaining a newfound appreciation for the meticulous craftsmanship that lay behind the portraits we had just encountered. It was a moment of convergence, where the boundary between artist and subject dissolved, and the artistry of Reynolds came to life before our very eyes.

What intrigued me most in this room were the glass vials, each containing a distinct pigment, waiting to be skillfully blended and translated onto canvas. This moment felt like a connection, a shared understanding with Reynolds, who, much like an alchemist, would have mixed pigments to create his art. It reminded me of my own endeavors, pondering the technique of crafting my paints by grinding pigments, aiming to capture the essence of my artistic journey. This insight from the past felt familiar, as if Reynolds and I both marveled at the potential within pigments, unlocking a world of creative possibilities—just as I do in my studio, where the fusion of pigments and imagination becomes an art form in itself.

Portraits & Identity

Sir Joshua Reynolds exhibited brilliance in his portrayal of "identity" through his portraits. Employing distinct backgrounds, attire, objects, poses, and expressions, he skillfully captured the essence of the individual beyond the canvas.

Harewood House currently houses six portraits by Joshua Reynolds, although he painted more portraits of the family. Not all subjects bear the surname 'Lascelles,' yet they all have ties to Edwin Lascelles or his cousin and successor, Edward, through marriage.

Joshua Reynolds, *Portrait of Lady Worsley*, 1776. Oil On Canvas. Harewood House, Cinnamon Drawing Room.

Joshua Reynolds, *Portrait of Lady Worsley*, as seen framed on the wall amongst other portraits in the Cinnamon Drawing Room. 1776. Oil On Canvas. Harewood House.

The exhibition showcases notable works, One such notable piece is the celebrated full-length portrait of Lady Worsley. Painted around 1776, this striking depiction showcases Lady Worsley in a richly adorned gown, her elegant posture exuding confidence. This portrait symbolizes not only her individuality but also the social status and aspirations of the Lascelles family during that era. The meticulous attention to detail in her clothing, the play of light, and her enigmatic expression all contribute to Reynolds' ability to capture both the person and the era they lived in.

Joshua Reynolds, *Mrs Hale as Euphrosyne*, 1762-1764. Oil on Canvas. 236 cm x 146 cm. Harewood House, Music Room.

Joshua Reynolds, *Mrs Hale as Euphrosyne*, as seen framed on the wall amongst other paintings in the Music Room. 1762-1764. Oil on Canvas. 236 cm x 146 cm. Harewood House, Music Room.

Another captivating piece is the full-length portrait of Mrs. Hale, portrayed as the goddess Euphrosyne. This painting exudes an air of elegance and ethereality, highlighting Reynolds' skill in blending classical allegory with the personality of his subject. Through the choice of portraying her as a goddess, Reynolds elevates Mrs. Hale's status and attributes, giving us a glimpse into the way the family wished to be seen.

Joshua Reynolds, *A full-length oil painting of Edwin Lascelles (1713-1795), 1st Baron Harewood standing in the grounds of his estate.* 18th Century. Oil on Canvas. Harewood House, Yellow Drawing Room.

Joshua Reynolds, *A full-length oil painting of Edwin Lascelles (1713-1795), 1st Baron Harewood standing in the grounds of his estate,* seen off the wall and in the midst of some conservation work. 18th Century. Oil on Canvas. Harewood House, Yellow Drawing Room.

In my prior winter exploration of the estate, the full-length portrait of Edwin Lascelles, the visionary behind Harewood House, had been temporarily removed from its customary wall space, its frame taken off for essential conservation efforts. Despite my profound interest in art preservation, this circumstance provided a unique chance to intimately observe the exquisite details and masterful brushwork that usually elude notice when the portrait is positioned high on the wall, distant and guarded by security barriers.

Today, this portrait stands alone, carefully lit via spotlight. The full-length portrayal of Edwin Lascelles commands attention, serving as a testament to his commanding presence and pivotal role within the family. This artful rendering, thoughtfully reinterpreted and presented, unveils the key to comprehending Edwin Lascelles' commanding ambitions and his indelible impact on the majesty of Harewood House. Every element, from his meticulously detailed attire to the aura of determination in his expression, offers an unfiltered glimpse into his world and the authoritative influence he wielded, shaping both the Lascelles family legacy and the architectural splendor that is Harewood House, despite the dark shadow cast by his association with slavery.

Through these carefully chosen and meticulously crafted portraits, Sir Joshua Reynolds painted the Lascelles family not just as individuals, but as reflections of an era, their ambitions, and their contributions to the world around them. Each stroke of his brush captures the nuanced details that make up their identities, offering us a glimpse into their lives and times.

Exercise!

As an engaging exercise, consider comparing the portrayal of Seymour, previously discussed, with the portrayal of Jane. Both sisters are subjects of Reynolds' artistic vision, offering a unique opportunity to discern the subtle nuances he wove into his masterpieces. Harewood House stands as not just a repository of history, but also as a canvas where each viewer can paint their own interpretations, bridging the gap between past and present.

Left: Joshua Reynolds, Jane, Countess of Harrington. 1775. Oil on Canvas. Right: Joshua Reynolds, Portrait of Lady Worsley. 1776. Oil On Canvas.

The presentation of these two sisters diverges significantly. Share your thoughts on how Sir Joshua Reynolds has depicted the personality of each sister. Take into account the backdrop, their expressions, attire, the objects within the painting, and their postures. I'm eager to read your insights on these artworks! If you had the opportunity to attend the Harewood House exhibition, please don't hesitate to share your impressions below.

In conclusion, my exploration of Harewood House and its captivating exhibition on Joshua Reynolds' portraits of the Lascelles family left me both inspired and reflective. While I've touched upon the essence of some of these remarkable portrayals, I intentionally refrained from delving too deeply into each one. Instead, I invite those fortunate enough to visit to stand before these canvases, allowing their own imaginations to unravel the intentions behind Reynolds' strokes.

Thank you, Until next time.

Rhiannon

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