(University of Edinburgh.)
Painted about 1798, "Professor Robison" is one of the most notable
portraits painted by Raeburn before 1800. It represents the
culmination of his _premier coup_ manner. (See pp. 63 and 73.)
[Illustration: Plate V.]
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Passing from supposition, which, however interesting and plausible,
throws no very definite light upon the formation of Raeburn's style, to
his early work itself, one finds it chiefly remarkable for frank
rendering of character. Obviously he believed in his own eyes, and
sought simple and direct ways for the expression of his vision.
Certain of what he saw, and desiring to set it down as he saw it, lack
of training in the traditional methods of painting by process probably
led him to attempt direct realisation in paint. Here is at once the
simplest and the most reasonable explanation of how he became an
exponent of direct painting, of how, isolated though it was, his art
came to be perhaps the most emphatic statement of this particular
method of handling between Velasquez and Hals and comparatively recent
times. Of course at this early stage his technical accomplishment was
not at all equal to his frankness of vision. His drawing, although
expressing character, was uncertain and not fully constructive; his
sense of design was rather stiff and occasionally somewhat archaic in
character; his handling and modelling, if broad and courageous, were
insufficiently supported by knowledge; his colour was apt to be dull
and monotonous, or, when breaking from that, patchy and crude in its
more definite notes which do not fuse sufficiently with their
surroundings.
Gradually these deficiencies were mastered, but in some degree they
persist in most of the comparatively few portraits which can be said
with certainty to have been painted before he went to Italy. He had
been in no hurry to go. Ever since marriage with one of his sitters in
1778, when he was only twenty-two, his future had been secure. The
lady, _nee_ Ann Edgar of Bridgelands, Peebleshire, brought him a
considerable fortune. The widow of James Leslie--who traced his
descent to Sir George Leslie, first Baron of Balquhain (1351), and who,
after his purchase of Deanhaugh in 1777,[1] was spoken of as "Count of
Deanhaugh"--she was twelve years the artist's senior, and had three
children; but the marriage turned out most happily for all concerned.
Raeburn went to live at his wife's property, which lay not far from his
brother's house and factory at Stockbridge, and, although sitters
increased with his growing reputation until he is said to have been
quite independent of his wife's income, he does not appear to have had
a separate studio. Probably his Edinburgh clients went to Deanhaugh,
and at times he seems to have painted portraits at the country houses
of the gentry. But in 1785 desire to see and learn more than was
possible at home took him to Italy. While in London he made the
acquaintance of Reynolds, in whose studio he may have worked for a few
weeks, and Sir Joshua's advice confirming his original intention,
Raeburn and his wife went to Rome, where they resided about two years.
When parting Reynolds took him aside and whispered: "Young man, I know
nothing about your circumstances. Young painters are seldom rich; but
if money be necessary for your studies abroad, say so, and you shall
not want it." Money was not needed, but letters of introduction were
accepted gladly; and "ever afterwards Raeburn mentioned the name of Sir
Joshua with much respect."
[1] If, as stated by Cumberland Hill in his _History of Stockbridge_,
Leslie bought Deanhaugh in 1777, and if, as stated by Cunningham and
others, Raeburn married in 1778, the lady can have been a widow for
only a few months.