Abstract
AbstractRecent scholarship has shown how the burst of cultural self‐confidence that followed the Seven Years War fuelled British desire for a national school of art and the foundation of the Royal Academy in 1768. This article re‐reads a portrait exhibited at the academy’s inaugural exhibition by leading London artist Francis Cotes. It argues that the portrait of young Lewis Cage was more than a simple portrait of a favourite son; rather, it was both an essay on the contours of contemporary British identity and a worked example of the potential of portraiture to rival the prestige of continental history painting.
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