Blank page; verso: Virgin and Child, after Schedoni; Child, after Van Dyck c. 18th century

Curator: This small drawing, attributed to Joshua Reynolds, is titled "Blank page; verso: Virgin and Child, after Schedoni; Child, after Van Dyck," and it is part of the collection here at the Harvard Art Museums. Editor: The sketches have a quiet, devotional feel. The loose lines give them an immediacy; you can almost feel Reynolds thinking through the composition. Curator: Absolutely. It's important to remember the context: Reynolds, a prominent figure in the Royal Academy, was deeply engaged with the artistic traditions of Europe, especially the Italian Renaissance. These are studies after established masters. Editor: So, he's using the work of Schedoni and Van Dyck almost as a form of material research—dissecting their techniques and adapting them to his own artistic language. A critical appropriation of the old masters. Curator: Precisely, and in doing so, Reynolds elevates the act of copying, turning it into a vital stage in the creative process, not just a mere act of imitation. I find that act fascinating. Editor: Yes, understanding Reynolds's labor here, the process of his hand—really transforms how we see the finished paintings that came out of it. I find that fascinating as well.