91 - Pietro Antonio Martini (1738–1797)

Pietro Antonio Martini (1738–1797) Portraits of Their Majesties and the Royal Family / Viewing the Exhibition of the Royal Academy, 1789. March 6, 1789 (date of publication). Etching and engraving after J. H. Ramberg (for the figures). [530 x 385 mm]. A very fine print on cream-colored laid paper, trimmed to the block and complete with the title block. Large, light moisture stains and small foxing spots along the edges. All margins intact. AABM stamp (Lugt 3075). Attached: same subject. Etching. [525 x 385 mm]. A very fine print on heavy cream-colored laid paper, in pure etching, unfinished, pre-letter, trimmed to the block edge. A few faint foxing spots. AABM stamp (Lugt 3075). Set of 2 sheets. "Founded in 1768 by King George III, the Royal Academy of Arts was established at Somerset House on the Strand. The Academy’s first president was the painter Joshua Reynolds, seen here on the far right holding an ear trumpet to improve his hearing. He was appointed shortly before the Academy officially opened on January 2, 1769, and was knighted that same year. The Royal Academy set out to raise the status and accessibility of British art. One of its founding principles was to “mount an annual exhibition open to all artists of distinguished merit” and to support the training of young artists in the Royal Academy schools. The annual exhibition, showcasing contemporary British art, was first held in 1769 and continues today. In this print, King George III is attending an exclusive private viewing of the Royal Academy exhibition, along with his family. They stand in the “Great Room,” the main exhibition gallery, and gaze at recognizable works densely hung on the walls. Some are raised well above eye level, while others hang below. The ideal place for an artist’s work to be hung was along the “line” running around the center of the room. Although the Royal Academy exhibition was “open to all,” the selection committee was extremely selective in both its choice of exhibitors and the positioning of their works. During the late 1700s, Reynolds wrote extensively on art theory and practice and promoted history painting—which he described as “grand manner” painting—above all other genres. (The London Museum). Among the paintings on display, there is notably a portrait of the royal family by Thomas Gainsborough, the portrait of the Prince of Wales by Sir Joshua Reynolds, and scenes of religious or classical history by Benjamin West, King George III’s official history painter and future president of the Academy, visible in the central alignment.