Las óleos de todo Sir Henry Raeburn
ID Image  Painting (From A to Z)       Details 
20728  
Sir Henry Raeburn, A Little Girl Carrying Flowers (mk05)
  		 A Little Girl Carrying Flowers (mk05)   Canvas 36 x 28''(91 x 71 cm)Bequeathed in 1962 R.F
78646  
Sir Henry Raeburn, Allen Brothers
  		 Allen Brothers   early 1790s Medium Oil on canvas cyf
71845  
Sir Henry Raeburn, Ann Fraser, Mrs. Alexander Fraser Tytler
  		 Ann Fraser, Mrs. Alexander Fraser Tytler   between 1802(1802) and 1806(1806) Oil on canvas 76.8 x 63.5 cm (30.24 x 25 in)
78148  
Sir Henry Raeburn, Ann Fraser, Mrs. Alexander Fraser Tytler
  		 Ann Fraser, Mrs. Alexander Fraser Tytler   between 1802(1802) and 1806(1806) Oil on canvas 76.8 x 63.5 cm (30.2 x 25 in) cjr
70838  
Sir Henry Raeburn, Boy and Rabbit
  		 Boy and Rabbit   Medium Oil on canvas Dimensions 101.6 x 78.8 cm
20729  
Sir Henry Raeburn, Captain Hay of Spott (mk05)
  		 Captain Hay of Spott (mk05)   Canvas 94 1/2 x 59 1/2''(240 x 151 cm) Acquired in 1908 R.F 1729
32812  
Sir Henry Raeburn, Francis Macnab
  		 Francis Macnab   mk81
67493  
Sir Henry Raeburn, Henry - Boy and Rabbit
  		 Henry - Boy and Rabbit   Year 1814 Technique Oil on canvas Dimensions 101.6 x 78.8 cm
3277  
Sir Henry Raeburn, Miss Eleanor Urquhart
  		 Miss Eleanor Urquhart   1795 National Gallery of Art, Washington DC
3279  
Sir Henry Raeburn, Mrs Colin Campbell of Park
  		 Mrs Colin Campbell of Park  
53850  
Sir Henry Raeburn, Pastor Robert Walker pa skridskotur
  		 Pastor Robert Walker pa skridskotur   mk234 1790-tales my 73x60cm
90276  
Sir Henry Raeburn, Portrat der Ms. Eleanor Urquhart
  		 Portrat der Ms. Eleanor Urquhart   c. 1795 Medium oil on canvas Dimensions Deutsch: 75 x 62 cm cjr
60182  
Sir Henry Raeburn, Raeburn portrait of Alasdair Ranaldson MacDonell of Glengarry
  		 Raeburn portrait of Alasdair Ranaldson MacDonell of Glengarry   Raeburn's portrait of Alasdair Ranaldson MacDonell of Glengarry (1812)
60183  
Sir Henry Raeburn, Raeburn portrait of Sir Walter Scott
  		 Raeburn portrait of Sir Walter Scott   Raeburn's portrait of Sir Walter Scott (1822)
40626  
Sir Henry Raeburn, Reverend Robert Walker Skating on Duddingston Loch
  		 Reverend Robert Walker Skating on Duddingston Loch   mk156 1795 Oil on canvas 76.2x63.5cm
56193  
Sir Henry Raeburn, sir walter scott
  		 sir walter scott   mk247 1823,oil on canvas,30x25 in,76x63.5 cm,scottish national portrait gallery,edinburgh,uk
56161  
Sir Henry Raeburn, the rev.robert walker skating on duddingston loch
  		 the rev.robert walker skating on duddingston loch   mk247 c.1795,oil on canvas,30x25 in,76.2x63.5 cm,antional gallery of scotland,edinburgh,uk
3278  
Sir Henry Raeburn, The Reverend Robert Walker Skating
  		 The Reverend Robert Walker Skating   mid 1790's National Gallery of Scotland
60184  
Sir Henry Raeburn, The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister
  		 The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister   The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister (1790s)
96395  
Sir Henry Raeburn, Thomas Carmichael
  		 Thomas Carmichael   oil on canvas 125.1x 101 cm cyf
Sir Henry Raeburn
1756-1823 Scottish Sir Henry Raeburn Galleries He was born the son of a manufacturer in Stockbridge, a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot's Hospital, where he received an education. At the age of fifteen he was apprenticed to a goldsmith, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. The goldsmith watched the progress of his pupil with interest, and introduced him to David Martin, who bad been the favourite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. In his early twenties, he was asked to paint the portrait of a young lady whom he had previously observed and admired when he was sketching from nature in the fields. She was the daughter of Peter Edgar of Bridgelands, and widow of Count Leslie. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, who advised him on what to study in Rome, especially recommending the works of Michelangelo. Raeburn carried with him to Italy many valuable introductions from the president of the Royal Academy. In Rome he met Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that "he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him." After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Raeburn's portrait of Sir Walter Scott (1822)Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton, works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practised portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, the bust of Dr Wardrop of Torbane Hill, the two full-lengths of Adam Rolland]] of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adam in the National Gallery of Scotland, and that of William Macdonald of St Martin's. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the earlier years of the 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, "You would never take him for a painter till he seizes the brush and palette." In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 associate, and in the following year full member of the Royal Scottish Academy. In 1822 he was knighted by George IV and appointed His Majesty's limner for Scotland. He died at Edinburgh. The Reverend Robert Walker Skating on Duddingston Loch, better known as The Skating Minister (1790s)Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Vel??zquez, the brushwork reminded him constantly of the "square touch" of Raeburn. Raeburn was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting everything directly from life. This attitude partly explains the often coarse modelling and clashing colour combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the nineteenth century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard's House, Stockbridge, Edinburgh.



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