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Student Artwork Guide

William Beveridge

Name Class Date

Henry Raeburn, William Beveridge (1795). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Henry Raeburn originaluniqueart.com/en/artists/henry-raeburn/
Artist’s dates
1756 – 1823
Painted
1795
Original size
92 x 70 cm
Movement
Neoclassicism A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.

In context

William Beveridge — Henry Raeburn

How big is it?

The original measures 92 × 70 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1750
  2. 1760
  3. 1770
  4. 1780
  5. 1790
  6. 1800
  7. 1810
  8. 1820

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Painted when the artist was 39. The artist lived to 67. 27 of the 144 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Henry Raeburn (1756–1823) ▲ this work, 1795 every dated painting, decade by decade

First works: up to 1795 Main working years: 1795–1812 Late works: from 1812

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/henry-raeburn-william-beveridge-AQRMY6-en/

Colours

Measured from the image

    Main colour

    Walnut #68280f

    Catalogued palette

    • #68280F
    • #1A0F0D
    • #DAA749
    • #A86627

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Henry Raeburn over the last twelve months — 9 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 86.2%
    2. 2 United States of America 4.5%
    3. 3 Hong Kong 3.1%
    4. 4 Singapore 2.2%
    5. 5 United Kingdom 1.8%
    6. 6 Portugal 0.9%
    7. 7 Canada 0.4%
    8. 8 France 0.4%
    9. 9 Japan 0.4%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Henry Raeburn

    1. 1 Young Girl Holding Flowers, 1798 4.6%
    2. 2 Charles Mackenzie Fraser, MP 2.9%
    3. 3 Portrait of Sir John Sinclair, 1794 2.1%
    4. 4 John Playfair 2.1%
    5. 5 James Duff, 4th Earl of Fife, 1815 2.1%
    6. 6 Daniel Stewart (1741–1814), 1812 1.7%
    7. 7 Miss Eleanor Urquhart, 1795 1.7%
    8. 8 John Balmanno, MD, President, FPSG (1800–1802, 1806–1808, 1818–1820 1826–1828), 1820 1.7%
    9. 9 Dr Alexander Lindsay of Pinkieburn 1.7%
    10. 10 Lady Dalrymple 1.7%
    11. 11 Portrait of Maurice Carmichael of Eastend, Lanarkshire 1.7%
    12. 12 Lieut-Colonel Bryce McMurdo, 1800 1.7%
    13. 13 The Archers 1.7%
    14. 14 Mrs H.W. Lauzun, 1796 1.3%
    15. 15 John Smith of Craigend (1739–1816), 1790 1.3%
    16. 16 Portrait of Mrs. Robert Scott Moncrieff, 1814 1.3%
    17. 17 Professor Andrew Dalzel (1742–1806), Classical Scholar, 1798 1.3%
    18. 18 Mrs. Anne Hart, 1810 1.3%
    19. 19 Portrait of Katherine Hamilton, Lady Suttie of Balgone (d. 1817), 1795 1.3%
    20. — William Beveridge, 1795 this painting 0.0%

    Together these works take 35.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 286 works by this artist, of which 127 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Henry Raeburn

    Born in Stockbridge, United Kingdom

    A Scottish Master of Realism: The Life and Art of Sir Henry Raeburn

    Born in 1756 amidst the burgeoning Enlightenment of Scotland, Sir Henry Raeburn emerged as a pivotal figure in British portraiture. His story is one of self-driven artistry, rising from humble beginnings to become the first native Scottish painter to achieve widespread acclaim and royal patronage. Orphaned at a young age, Raeburn’s early life was shaped by the support of his brother William, who secured him an education at Heriot's Hospital in Edinburgh. This foundation proved crucial, though his initial path led not directly to canvas and brush, but to the meticulous craft of goldsmithing under James Gilliland. It was within this world of intricate detail and refined skill that Raeburn honed a precision that would later define his artistic style. He began creating miniature portraits on ivory, demonstrating an innate talent for capturing likenesses with remarkable accuracy. However, it wasn’t long before the allure of larger-scale oil painting beckoned, and he bravely embarked on a self-taught journey to master this more demanding medium.

    From Miniature Precision to Grand Portraiture

    Raeburn's artistic evolution was marked by a relentless pursuit of skill. He absorbed knowledge from David Martin, a leading portraitist in Edinburgh who had been an assistant to Allan Ramsay, but largely relied on his own dedication and observation. His early works reveal a developing talent, yet it was through consistent practice and a keen eye for detail that he began to distinguish himself. A turning point came with his marriage to Ann Edgar, a wealthy widow, in 1778. This union provided financial stability, allowing Raeburn to fully dedicate himself to painting without the constraints of commercial obligations. He immersed himself in studying the works of masters like Joshua Reynolds, whom he met during a brief sojourn in London en route to Italy – though the Italian journey was ultimately abandoned. Raeburn’s style began to coalesce around a powerful realism, characterized by dramatic lighting and an ability to capture not just physical resemblance but also the inner character of his sitters. He moved away from the softer, more idealized portrayals common at the time, opting for a directness and honesty that resonated with Scottish sensibilities.

    Capturing Character: Raeburn’s Artistic Signature

    Raeburn's portraits are not merely representations of individuals; they are psychological studies rendered in oil paint. He possessed an extraordinary ability to convey the personality, status, and even the mood of his subjects. His technique was masterful – a combination of meticulous observation, confident brushwork, and a sophisticated understanding of light and shadow. The Young Polo Player, for example, is not simply a depiction of a sporting gentleman; it’s an energetic snapshot of youthful vitality and aristocratic leisure. Similarly, his portrait of Alexander Allan, a prominent figure in Scottish art, reveals a man of intellect and refinement. Raeburn's use of chiaroscuro – the dramatic contrast between light and dark – became a hallmark of his style, lending depth and intensity to his compositions. He often positioned his subjects against dark backgrounds, allowing their faces and figures to emerge with striking clarity. This technique not only enhanced the visual impact of his portraits but also served to focus attention on the individual’s character and presence.

    Recognition and Legacy: A Scottish Icon

    Throughout his career, Raeburn enjoyed considerable success and recognition. He became a leading member of Edinburgh society, attracting commissions from prominent families and individuals. In 1815, he was elected to the Royal Academy in London, solidifying his reputation on a national level. His appointment as Portrait Painter to King George IV in Scotland in 1822 – shortly before his death in 1823 – was the ultimate acknowledgment of his artistic achievements. Raeburn’s influence on Scottish art is immeasurable. He established a standard for portraiture that subsequent generations would strive to emulate, and his work continues to inspire artists today. His paintings are now held in prestigious collections around the world, including the Scottish National Gallery in Edinburgh and The Frick Collection in New York.

    His dedication to realism and psychological insight set him apart from many of his contemporaries.

    He helped establish a distinctly Scottish identity within British art.

    His masterful technique continues to be studied and admired by artists and scholars alike.

    Raeburn’s legacy extends beyond the canvas. He represents a triumph of self-education, perseverance, and artistic vision – a testament to the power of talent nurtured by unwavering dedication. He remains an integral part of Scotland's rich cultural heritage, a master portraitist whose works continue to captivate and inspire audiences centuries after their creation.

    Where to read more

    Find this online

    QR code linking to the download page for William Beveridge

    originaluniqueart.com/en/art/download/henry-raeburn-william-beveridge-AQRMY6-en/

    Cite this artwork

    MLA
    Raeburn, Henry. William Beveridge. 1795, https://originaluniqueart.com/en/art/henry-raeburn-william-beveridge-AQRMY6-en/
    APA
    Raeburn, Henry (1795). William Beveridge [Painting]. https://originaluniqueart.com/en/art/henry-raeburn-william-beveridge-AQRMY6-en/
    Chicago
    Henry Raeburn. William Beveridge. 1795. https://originaluniqueart.com/en/art/henry-raeburn-william-beveridge-AQRMY6-en/
    Harvard
    Raeburn, Henry (1795) William Beveridge. Available at: https://originaluniqueart.com/en/art/henry-raeburn-william-beveridge-AQRMY6-en/

    Look closely

    William Beveridge — Henry Raeburn

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: portraiture, wealth, status. Do you agree? What would you add, or take away?
    5. Look back at Young Girl Holding Flowers (1798), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What are the format and size of "William Beveridge"?

    "William Beveridge" by Henry Raeburn is a portrait composition measuring 92 x 70 cm in the original.

    How can I get a digital file of "William Beveridge" by Henry Raeburn?

    To get a digital file of "William Beveridge" by Henry Raeburn, order a high-resolution digital image download on its Digital Image page.

    What color leads the composition of "William Beveridge" by Henry Raeburn?

    The color that stands out most in "William Beveridge" is walnut (#68280f). The dominant color is useful when matching an artwork to an interior.