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The Blue Boy

Maker (British, 1727-1788)
ClassificationsPAINTINGS
Date1770
Mediumoil on canvas
Dimensions70 5/8 × 48 3/4 × 1 in. (179.4 × 123.8 × 2.5 cm.) frame: 85 × 63 × 6 in. (215.9 × 160 × 15.2 cm.)
DescriptionThis iconic painting by Thomas Gainsborough, which is one of the gems of the Huntington painting collection, portrays in full length a young gentleman in blue attire standing on a wooded slope in a natural landscape.
Credit LineThe Huntington Library, Art Museum, and Botanical Gardens
Label TextThe Blue Boy was Gainsborough's first attempt at depicting full-length Van Dyck dress—knee breeches and a slashed doublet with a lace collar. This type of costume recalled the work of Anthony van Dyck, the Flemish painter whose glamorous portraits of aristocrats had revolutionized British art decades earlier. When the painting was shown in 1770 at the Royal Academy, the nod to Van Dyck drew comparison between the two artists and helped create a name for Gainsborough among the exhibition's London audience.

In 2018–19, technical study and conservation treatment of the painting provided many details about Gainsborough's brushwork, pigments, and methods. A digital X-ray revealed its underlayers more clearly than ever before. At the top center, a man's head is visible, a remainder of an abandoned portrait that indicates that the artist reused a canvas. At lower right, a dog that was once part of Blue Boy's composition has been painted over, focusing more attention on the figure. Such details suggest that Gainsborough began Blue Boy on his own initiative and reworked it for maximum effect.

Other analysis shed light on Gainsborough's pigments, and the removal of overpaint and cloudy varnish exposed the sheer mastery of his brushwork. To catch the eye, the shimmering blue satin of the clothing is rendered in a spectrum of colors—containing ultramarine, smalt, Prussian blue, and possibly azurite. These subtle shades were applied in extremely complex layers of vigorous slashes and fine strokes. Technical details such as these have added to our understanding of the painting as Gainsborough's showpiece. Created to draw the public's admiration in 1770, Blue Boy continues to do so today.
Status
On view
Object number21.1
Sarah Goodin Barrett Moulton: "Pinkie"
Thomas Lawrence
1794
Object number: 27.61
Penelope (Pitt), Viscountess Ligonier
Thomas Gainsborough
1770
Object number: 11.29
Elizabeth (Jenks) Beaufoy, later Elizabeth Pycroft
Thomas Gainsborough
ca.1780
Object number: 24.1
Henrietta Read, later Henrietta Meares
Thomas Gainsborough
ca.1777
Object number: 24.2
Woman with a Spaniel
Thomas Gainsborough
ca. 1749
Object number: 47.1
The Hon. Anne (Batson) Fane
Thomas Gainsborough
ca.1782
Object number: 26.108
Juliana (Howard) , Baroness Petre
Thomas Gainsborough
1788
Object number: 11.25
Karl Friedrich Abel
Thomas Gainsborough
ca. 1777
Object number: 25.19
Edward, Viscount  (later Earl) Ligonier
Thomas Gainsborough
1770
Object number: 11.30
Cottage Door
Thomas Gainsborough
ca. 1780
Object number: 22.3
Anne (Luttrell), Duchess of Cumberland
Thomas Gainsborough
ca. 1777
Object number: 12.10
Young Hobbinol and Ganderetta
Thomas Gainsborough
ca.1788
Object number: 78.20.30