![]() As president of the Royal Academy, Reynolds was a disciplined advocated of history painting who played an active role in curriculum development and delivery, and the presentation of the annual exhibitions. This origination story appealed to the public's perception of the distinctly different personalities of Reynolds and Gainsborough since it set the two artists in opposition. Let this conduct be reversed let the light be cold, and the surrounding colour warm, as we often see in the works of the Roman and Florentine painters, and it will be out of the power of art, even in the hands of Rubens and Titian, to make a picture splendid and harmonious. It ought, in my opinion, to be indispensably observed, that the masses of light in a picture be always of a warm, mellow colour, yellow, red, or a yellowish white, and that the blue, the grey, or the green colours be kept almost entirely out of these masses, and be used only to support or set off these warm colours and for this purpose, a small proportion of cold colour will be sufficient. As President of the Royal Academy, Reynolds had lectured publicly on the use of warm and cool colors in his Eighth Discourse presented in 1778. In 1821, John Young (1755–1825), a printmaker and keeper of the British Institution, published a reproduction of the painting for the first time and told the story of how the artist painted The Blue Boy to contradict the advice of Sir Joshua Reynolds. The painting is about life-size, measuring 48 inches (1,200 mm) wide by 70 inches (1,800 mm) tall. Gainsborough had already drawn something on the canvas before beginning The Blue Boy, which he painted over. It is a historical costume study as well as a portrait the youth appears in clothing from the 17th century as the artist's homage to Anthony van Dyck and is very similar to Van Dyck's portraits of young boys, especially his double portrait of brothers George Villiers, 2nd Duke of Buckingham and Lord Francis Villiers. This identification has never been proven and as Susan Sloman argued in 2013, the likely sitter is Gainsborough's nephew, Gainsborough Dupont (1754–1797). One of Gainsborough's best known works, The Blue Boy was long thought to be a portrait of Jonathan Buttall (1752–1805), the son of a wealthy hardware merchant, because of his early ownership of the painting. 1770) is a full-length portrait in oil by Thomas Gainsborough, owned by The Huntington in San Marino, California. Huntington Art Gallery, San Marino, California For other uses, see The Blue Boy (disambiguation). You can stretch and frame your painting in your local frame-shop.This article is about the Gainsborough painting. Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.Īlso, there are postal restrictions, regarding the size of the shipment.Īdditionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself. We not stretch and frame our oil paintings due to several reasons: TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations. In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery. The reproduction of Pierre-Auguste Renoir also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.īased on the size, level of detail and complexity we need 8-9 weeks to complete the process. ![]() ![]() High quality and detailing in every inch are time consuming. We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas. Once we get your order, it will be entirely hand-painted with oil on canvas. ![]() We create our paintings with museum quality and covering the highest academic standards.
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