Art, Sir Henry Raeburn,

MY ARTIST FOR THIS WEEK IS

Sir Henry Raeburn (1756-1823)

This painter was the best and most famous Scottish portrait painter of his own time and beyond.  He was born in Stockbridge, Edinburgh on 04/03/1756. His father, a mill owner, died while Raeburn was quite young and he was raised by an elder brother and educated at Heriot's Hospital. He began his working life in 1772 when he was apprenticed to a jeweller, Mr James Gilliland. Fairly soon into his apprenticeship he became distracted from the jewellery trade and began painting miniature water colour portraits of his friends. His talent was noticed and nurtured by one of Edinburgh’s leading portrait painters David Martin.  Under guidance from Martin, Raeburn turned to painting in oil and his own distinctive style soon emerged, his work became instantly recognisable, partly due to his representation of the soft Scottish light. In 1778, he married a wealthy widow whose personal income freed him from the financial restraints of earning a living and allowed him to devote his time entirely to painting.  This marriage also bestowed on him the Deanhaugh Estate in Stockbridge. Later, once his reputation as a portrait painter gave him financial security without relying on his wife’s private funds,  he purchase the neighbouring St. Bernard's estate. Eventually he amassed quite a small fortune by feuing for building the Stockbridge extension of Edinburgh's New Town. In 1784 he met Sir Joshua Reynolds while travelling to London.  He was already an admirer of Reynolds work but after the meeting Raeburn’s work was seen to be influenced by the style Reynolds work. Following Reynolds's advice, Raeburn spent the following two years studying in Italy as did many Scottish artists of that generation. Raeburn returned to Edinburgh in 1787, he set up a studio in George Street, Edinburgh and became the leading portraitist of Edinburgh. His work often featured full length portraits of the prominent and influential people of Scottish Society of that time. From here it didn’t take long for his fame and popularity to spread south of the border. He became a member of the Royal Academy in 1815. He was knighted by King George IV during his visit to Scotland in 1822 and, shortly before his death in 1823, was appointed His Majesty's Limner for Scotland. The two pillars of Scottish Painting and founders of the ‘Scottish School’ of painting are still considered to be Sir David Wilkie and Sir Henry Raeburn.
My own personal favourite is Sir John and Lady Clerk, I love this painting because it is a perfect example of the soft reflected light so typically Scottish. I often say one of the things I love most about Scotland is the quality of the light. Unless you live here, or you have spent some time here that statement may not make much sense, light is light most people tend to think. I think there is such a thing as ‘Scottish Light’, a quality to the light that is not found any where else. This is one of the reasons so many artists paint here, because the light is so special, and this painting, in my mind, shows that special quality better than any other painting I can think of.

delete reply acousticeagle wrote on Sep 22, '08 You have me interested in this Scottish Light. I know, as I paint myself, how important light is for an artist. Well, ever since I moved to Tasmania early last year I've never known natural light like here - way, way 'down-under' (as it is said about Australia in other parts of the world) the mainland. The reason is because of Tasmania being so close to Antarctica, the light here is very white. I find I must wear sunglasses most of the year. The other thing is that there's a lot of UV rays, so wearing a hat is important because you get sunburned without realising it. A truly expressionful painting, to be sure. It really captures the realism of the people pictured, as well as all the beautiful artistry in which the portraits are composed. I can see how golden is the glow in the light.

delete reply lauritasita wrote on Sep 21, '08 Thank you for showing this great painting. It looks so real, like a photograph !

delete reply veryfrank wrote on Sep 21, '08 There is no question that the 'Scottish Light' is most special. Having experienced it for myself, I can attest to it. I would expect that the artists can take advantage of the natural shadows for their paintings and not have to manufacture lighting. I have seen some of Raeburn's work in museums and art catalogs and am impressed by the detail.

delete reply brendainmad wrote on Sep 21, '08 What a beautiful painting. Thanks for the lesson, especially the bit you included about the light in Scotland.

delete reply bennett1 wrote on Sep 21, '08 Thank you once again for a lovely Sunday morning lesson. I agree there is something special about the light; I have not been to Scotland but I have been to places of the northern latitudes and the light is unique. I also love his detail, particularly the articulation of arms and hands that make them seem so graceful. All of his people seem to look real and have personalities that makes me wish to know more about them. Thank you for this blog.

delete reply starfishred wrote on Sep 21, '08 Yes I can see whay you love the picture it is wonderful-thanks for the tour.