Joshua Reynolds (1723—92)

by Joshua Reynolds (1723—92)

Oil on canvas. SCAD Museum of Art, Savannah, GA.

by Joshua Reynolds (1723—92)

Oil on canvas; 25 x 18 3/4 inches (63.5 x 47.6 cm). Yale Center for British Art, New Haven, CT.

by Joshua Reynolds (1723—92)

Oil on canvas; 737 x 616 mm. Tate Gallery, London, England.

by Joshua Reynolds (1723—92)

Oil on canvas; 39 in. x 31 1/4 in. (991 mm x 794 mm). National Portrait Gallery, London, England.

by Joshua Reynolds (1723—92)

Oil on canvas; 2390 mm x 1460 mm (94.1 × 57.5 in). National Maritime Museum, London, England.

by Joshua Reynolds (1723—92)

Oil on canvas; w641 x h768 cm. Yale Center for British Art, New Haven, CT.

by Joshua Reynolds (1723—92)

Oil on canvas; 750 x 620 mm. National Trust, Petworth House and Park, West Sussex, England.

by Joshua Reynolds (1723—92)

Oil on canvas. Mead Art Museum, Amherst College, Amherst, MA.

by Joshua Reynolds (1723—92)

Oil on canvas; w635 x h762 cm. Yale Center for British Art, New Haven, CT.

by Joshua Reynolds (1723—92)

Oil on canvas; 50 x 39 7/8 in. (127 x 101.3 cm). The Frick Collection, New York, NY.

I set out on this ground, which I suppose to be self-evident, that the earth belongs in usufruct to the living; that the dead have neither powers nor rights over it. This, with its echo of the Declaration (self-evident) was Jefferson at his most terse. Except for the phrase in usufruct — a legalism meaning the right to use property for a certain time — Jefferson’s words could be chiseled in stone, or shouted on the hustings.

Richard Brookhiser
James Madison (2011)