Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. List of Abbreviations xv
5. Foreword xvi
6. Acknowledgements xix
7. 1 Introduction. ‘Indiscriminate praise is little better than censure’: Critical Contexts for Understanding Raeburn’s Portraiture 1
8. PART I CONTEXT
9. 2 ‘I cannot coin money for them’: Raeburn in the Nexus of Patronage, the Art Market and Global Trade 35
10. 3 Scotland’s Canova and the Immortal Raeburn 66
11. 4 Raeburn’s John Hope, 4th Earl of Hopetoun: The ‘Knotty’ Business of Portrait Painting in London and Edinburgh in the 1810s 97
12. 5 In the Shadow of Jacques-Louis David’s Napoleon: The 10th Duke of Hamilton and Raeburn 122
13. 6 Raeburn and the Print Culture of Edinburgh, c. 1790–1830: Constructing Enlightened and National Identities 153
14. PART II RECEPTION
15. 7 A Portrait of the Artist in London: The Critical Reception of Raeburn’s Royal Academy Exhibits, 1792–1823 179
16. 8 The Critique of the Modern French School of Painting from Reynolds to Constable 208
17. 9 Raeburn in America: Scottish–American Art Networks, 1791–1845 224
18. 10 Raeburn and Goya: The Redefi nition of Artistic Personality 258
19. PART III REPUTATION
20. 11 Raeburn’s First Biography: Allan Cunningham’s Presentation of the Artist as a Model Scottish Gentleman 289
21. 12 ‘Synonymous with manly portraits’: Re-evaluating Raeburn’s Women 314
22. 13 Raeburn and France 335
23. 14 Raeburn and the Revival of Mezzotint Portraiture, 1890–1930 351
24. Select Bibliography 367
25. Notes on the Contributors 372
26. Index 376