Pinky And Blue Boy Paintings

This handsome gift volume reveals the stories behind the Huntington's best-known paintings, 'The Blue Boy' by Thomas Gainsborough and 'Pinkie' by Sir Thomas Lawrence. Purchased by Henry E. Huntington in the 1920s, the two masterpieces have resided together in the railroad magnate's mansion-turned-art gallery in San Marino, California, for more. Pinkie and The Blue Boy can be seen in the pilot episode of Eerie, Indiana. The paintings are used as set decorations for many episodes of the American television show, Leave It to Beaver. The two paintings are located on the wall immediately to the left and right side of the front door of the family home. Before its departure to California in 1922, The Blue Boy was briefly put on display at the National Gallery where it was seen by 90,000 people; the Gallery's director Charles Holmes was moved to scrawl farewell words on the back of the painting: 'Au Revoir, C.H.' It was this painting that moved pop artist Robert Rauschenberg toward painting. Antique Blue Boy & Pinkie paintings Original Wood Frame DESCRIPTION Antique Original Reproductions of the very famous 'Blue Boy' and 'Pinkie' paintings. This set is stamped at the back, showing that they are in the original wood frames. Not sure of the date. One person stated they are from the 1950's, but I think they might be older than that.

Pinkie is the traditional title for a portrait made in 1794 by Thomas Lawrence in the permanent collection of the Huntington Library at San Marino, California where it hangs opposite The Blue Boy by Thomas Gainsborough. The title now given it by the museum is Sarah Goodin Barrett Moulton: 'Pinkie'. These two works are the centerpieces of the institute's art collection, which specialises in eighteenth-century English portraiture. The painting is an elegant depiction of Sarah Moulton, who was about eleven years old when painted. Her direct gaze and the loose, energetic brushwork give the portrait a lively immediacy.^[1][2][3]

Origin[edit]

Sarah Moulton[edit]

Sarah Goodin Barrett Moulton was born on 22 March 1783, in Little River, St. James, Jamaica.^[4] She was the only daughter and eldest of the four children of Charles Moulton, a merchant from Madeira, and his wife Elizabeth. Sarah was baptised on 29 May 1783, bearing the names Sarah Goodin Barrett in honour of her aunt, also named Sarah Goodin Barrett, who had died as an infant in 1781.^[4] She was a descendant of Hersey Barrett, who had arrived in Jamaica in 1655 with Sir William Penn and by 1783, the Barretts were wealthy landowners, slave owners, and exporters of sugar cane and rum.^[4] Inside her family, she was called Pinkie or Pinkey.

By the time Sarah was six, her father had left the family and her mother was left to raise the children, Sarah and her brothers Edward (1785–1857) and Samuel (1787–1837), with the help of her relatives. In September 1792, Sarah and her brothers sailed to England to get a better education. Sarah was sent to Mrs Fenwick's school at Flint House, Greenwich, along with other children from Jamaican colonial families.^[4] On 16 November 1793 Sarah's grandmother, Judith Barrett, wrote from Jamaica to her niece Elizabeth Barrett Williams, then living on Richmond Hill in Surrey, asking her to commission a portrait of 'my dear little Pinkey … as I cannot gratify my self with the Original, I must beg the favour of You to have her picture drawn at full Length by one of the best Masters, in an easy Careless attitude'. Sarah probably began sitting for Lawrence, painter-in-ordinary to George III, at his studio in Old Bond Street soon after the receipt of this letter on 11 February 1794.^[4]

One year later, on 23 April 1795, Sarah died at Greenwich, aged 12. A letter from her grandmother, four months before said that she had recovered from a cough. She was buried on 30 April 1795 in the doctor's vault under the parish church of St Alfege, Greenwich.^[4] She was the only Moulton child to die in childhood. Her portrait by Lawrence was placed on display in the Royal Academy exhibition of 1795, which opened the day after her burial. The painting was passed down within the family until 1910, passing at one point to Sarah's brother, Edward. Sarah's niece was the poet Elizabeth Barrett Browning.^[4]

History[edit]

Pinkie was first displayed at the 1795 Royal Academy summer exhibition.^[5] According to an official Huntington Library publication:

Many of the finest works by the most gifted English artists of the period were large formal portraits. Although most of the pictures were commissioned by the sitter, many were also intended for public display. They made their first appearances at the annual Royal Academy exhibition, which was then the principal artistic event of the year. A somewhat grand and rhetorical air was considered appropriate for this type of painting, and this artistic intention should be kept in mind when looking at the portraits in the Huntington collection.^[6]

The painting was one of the last acquisitions of California land developer Henry E. Huntington in 1927.^[2][7] In 1934 the Huntington foundation constructed a new main gallery as an addition to the former residence for the collection's major portraits. Except for brief intervals during travelling exhibitions, Pinkie has hung there since that time.^[8]

Relationship to The Blue Boy[edit]

Pinkie owes part of its notability to its association with the Gainsborough portrait The Blue Boy. According to Patricia Failing, author of Best-Loved Art from American Museums, 'no other work by a British artist enjoys the fame of The Blue Boy.'^[9]Pinkie and The Blue Boy are often paired in popular esteem; some gallery visitors mistake them for contemporaneous works by the same artist.^[10][11] The two were created by different painters a quarter century apart, however, and the dress styles of the subjects are separated by more than one hundred and fifty years. Jonathan Buttall, who posed for Gainsborough's portrait, wears a period costume of the early seventeenth century as an homage to Flemish Baroque painterAnthony van Dyck, whom Gainsborough held in particular esteem. Sarah Moulton wears the contemporary fashion of 1794.^[8][9] The faces and gaze of the boy and girl are perhaps similar enough for them to be thought brother and sister, but the two works had no association until Henry Huntington purchased them in the 1920s.^[10]

Nonetheless, the two are so well matched that William Wilson, author of The Los Angeles Times Book of California Museums, calls them 'the Romeo and Juliet of Rococo portraiture' and notes that their association borders on cliché:

They have decorated cocktail coasters, appeared in advertisements, and stopped the show as the tableaux vivants at the Laguna Beach 'Pageant of the Masters.' For all that, they remain intrinsically lovely…The continuing popularity of both pictures is based on more than the obvious. The subjects certainly are in the springtime of life, but their freshness is lent a certain poignancy by the rather grown-up garb that suggests both the transience of youth and the attempt to cling to it. Besides, both are extraordinarily fine pictures, easy and dramatic at once.^[11] Shanoor sana wiki.

In popular culture[edit]

Pinkie is also used as a set decoration in the 1946 American film, Margie, and can be seen in the residence of Margie and her grandmother, located on the wall in the sitting room.

This handsome gift volume reveals the stories behind the Huntington's best-known paintings, 'The Blue Boy' by Thomas Gainsborough and 'Pinkie' by Sir Thomas Lawrence. Purchased by Henry E. Huntington in the 1920s, the two masterpieces have resided together in the railroad magnate's mansion-turned-art gallery in San Marino, California, for more. Pinkie and The Blue Boy can be seen in the pilot episode of Eerie, Indiana. The paintings are used as set decorations for many episodes of the American television show, Leave It to Beaver. The two paintings are located on the wall immediately to the left and right side of the front door of the family home. Before its departure to California in 1922, The Blue Boy was briefly put on display at the National Gallery where it was seen by 90,000 people; the Gallery's director Charles Holmes was moved to scrawl farewell words on the back of the painting: 'Au Revoir, C.H.' It was this painting that moved pop artist Robert Rauschenberg toward painting. Antique Blue Boy & Pinkie paintings Original Wood Frame DESCRIPTION Antique Original Reproductions of the very famous 'Blue Boy' and 'Pinkie' paintings. This set is stamped at the back, showing that they are in the original wood frames. Not sure of the date. One person stated they are from the 1950's, but I think they might be older than that.

Pinkie is the traditional title for a portrait made in 1794 by Thomas Lawrence in the permanent collection of the Huntington Library at San Marino, California where it hangs opposite The Blue Boy by Thomas Gainsborough. The title now given it by the museum is Sarah Goodin Barrett Moulton: 'Pinkie'. These two works are the centerpieces of the institute's art collection, which specialises in eighteenth-century English portraiture. The painting is an elegant depiction of Sarah Moulton, who was about eleven years old when painted. Her direct gaze and the loose, energetic brushwork give the portrait a lively immediacy.^[1][2][3]

Origin[edit]

Sarah Moulton[edit]

Sarah Goodin Barrett Moulton was born on 22 March 1783, in Little River, St. James, Jamaica.^[4] She was the only daughter and eldest of the four children of Charles Moulton, a merchant from Madeira, and his wife Elizabeth. Sarah was baptised on 29 May 1783, bearing the names Sarah Goodin Barrett in honour of her aunt, also named Sarah Goodin Barrett, who had died as an infant in 1781.^[4] She was a descendant of Hersey Barrett, who had arrived in Jamaica in 1655 with Sir William Penn and by 1783, the Barretts were wealthy landowners, slave owners, and exporters of sugar cane and rum.^[4] Inside her family, she was called Pinkie or Pinkey.

By the time Sarah was six, her father had left the family and her mother was left to raise the children, Sarah and her brothers Edward (1785–1857) and Samuel (1787–1837), with the help of her relatives. In September 1792, Sarah and her brothers sailed to England to get a better education. Sarah was sent to Mrs Fenwick's school at Flint House, Greenwich, along with other children from Jamaican colonial families.^[4] On 16 November 1793 Sarah's grandmother, Judith Barrett, wrote from Jamaica to her niece Elizabeth Barrett Williams, then living on Richmond Hill in Surrey, asking her to commission a portrait of 'my dear little Pinkey … as I cannot gratify my self with the Original, I must beg the favour of You to have her picture drawn at full Length by one of the best Masters, in an easy Careless attitude'. Sarah probably began sitting for Lawrence, painter-in-ordinary to George III, at his studio in Old Bond Street soon after the receipt of this letter on 11 February 1794.^[4]

One year later, on 23 April 1795, Sarah died at Greenwich, aged 12. A letter from her grandmother, four months before said that she had recovered from a cough. She was buried on 30 April 1795 in the doctor's vault under the parish church of St Alfege, Greenwich.^[4] She was the only Moulton child to die in childhood. Her portrait by Lawrence was placed on display in the Royal Academy exhibition of 1795, which opened the day after her burial. The painting was passed down within the family until 1910, passing at one point to Sarah's brother, Edward. Sarah's niece was the poet Elizabeth Barrett Browning.^[4]

History[edit]

Pinkie was first displayed at the 1795 Royal Academy summer exhibition.^[5] According to an official Huntington Library publication:

Many of the finest works by the most gifted English artists of the period were large formal portraits. Although most of the pictures were commissioned by the sitter, many were also intended for public display. They made their first appearances at the annual Royal Academy exhibition, which was then the principal artistic event of the year. A somewhat grand and rhetorical air was considered appropriate for this type of painting, and this artistic intention should be kept in mind when looking at the portraits in the Huntington collection.^[6]

The painting was one of the last acquisitions of California land developer Henry E. Huntington in 1927.^[2][7] In 1934 the Huntington foundation constructed a new main gallery as an addition to the former residence for the collection's major portraits. Except for brief intervals during travelling exhibitions, Pinkie has hung there since that time.^[8]

Relationship to The Blue Boy[edit]

Pinkie owes part of its notability to its association with the Gainsborough portrait The Blue Boy. According to Patricia Failing, author of Best-Loved Art from American Museums, 'no other work by a British artist enjoys the fame of The Blue Boy.'^[9]Pinkie and The Blue Boy are often paired in popular esteem; some gallery visitors mistake them for contemporaneous works by the same artist.^[10][11] The two were created by different painters a quarter century apart, however, and the dress styles of the subjects are separated by more than one hundred and fifty years. Jonathan Buttall, who posed for Gainsborough's portrait, wears a period costume of the early seventeenth century as an homage to Flemish Baroque painterAnthony van Dyck, whom Gainsborough held in particular esteem. Sarah Moulton wears the contemporary fashion of 1794.^[8][9] The faces and gaze of the boy and girl are perhaps similar enough for them to be thought brother and sister, but the two works had no association until Henry Huntington purchased them in the 1920s.^[10]

Nonetheless, the two are so well matched that William Wilson, author of The Los Angeles Times Book of California Museums, calls them 'the Romeo and Juliet of Rococo portraiture' and notes that their association borders on cliché:

They have decorated cocktail coasters, appeared in advertisements, and stopped the show as the tableaux vivants at the Laguna Beach 'Pageant of the Masters.' For all that, they remain intrinsically lovely…The continuing popularity of both pictures is based on more than the obvious. The subjects certainly are in the springtime of life, but their freshness is lent a certain poignancy by the rather grown-up garb that suggests both the transience of youth and the attempt to cling to it. Besides, both are extraordinarily fine pictures, easy and dramatic at once.^[11] Shanoor sana wiki.

In popular culture[edit]

Pinkie is also used as a set decoration in the 1946 American film, Margie, and can be seen in the residence of Margie and her grandmother, located on the wall in the sitting room.

Pinkie And Blue Boy Paintings At The Huntington Library

Pinkie and The Blue Boy can be seen in the pilot episode of Eerie, Indiana.^{[citation needed]}

The paintings are used as set decorations for many episodes of the American television show, Leave It to Beaver. The two paintings are located on the wall immediately to the left and right side of the front door of the family home.

The Blue Boy also appears in the film Coraline above the fireplace in the Pink Palace. He appears sad in the real realm but appears happy in the other world.^{[citation needed]}

In the film Joker, Pinkie and Blue Boy are both seen hanging on the wall of Arthur and Penny Fleck's apartment near the television set.^[12]

See all books authored by Adi Shankaracharya, including Vivekachudamani of Sri Sankaracarya, and The Seven Steps to Awakening, and more on ThriftBooks.com. The full title of this book is 'The Bhagavad Gita - With the Commentary of Sri Sankaracharya, Translated from the original Sanskrit into English by Alladi Mahadeva Sastry.' The book contains the Sanskrit text of the Gita in Devanagari script followed by its translation, and also the translation of Sankara's famous commentary or Bhashya. Shankaracharya books in english.

References[edit]

Citations

1. ^Wilson 1984, pp. 195–8
2. ^ ^abRitchie 1986, p. 18
3. ^'Archived copy'. Archived from the original on 5 May 2014. Retrieved 4 May 2014.CS1 maint: archived copy as title (link)
4. ^ ^abcdefgRetford, Kate (October 2005). 'Sarah Moulton'. Oxford Dictionary of National Biography. oxforddnb.com. doi:10.1093/ref:odnb/93084. Retrieved 31 March 2012.
5. ^Ritchie 1986, p. 3
6. ^Bernal 1992, p. 32
7. ^Pomeroy 1983, p. 12
8. ^ ^abBernal 1992, p. 33
9. ^ ^abFailing 1983, p. 29
10. ^ ^abBernal 1992, p. 34
11. ^ ^abWilson 1984, p. 198
12. ^Andrew Dyce. 'Joker Trailer Breakdown: 15 Story Reveals & Secrets'. screenrant.com. Retrieved 14 October 2019.

Pinky And Blue Boy Paintings

Works cited

• Bernal, Peggy Park (1992). The Huntington: Library, Art Collections, Botanical Gardens. San Marino, California: The Huntington Library.CS1 maint: ref=harv (link)
• Failing, Patricia (1983). Best-Loved Art from American Museums. New York: Clarkson N. Potter, Inc.CS1 maint: ref=harv (link)
• Pomeroy, Elizabeth (1983). The Huntington: Library, Art Gallery, Botanical Gardens. London: Scala/Philip Wilson.CS1 maint: ref=harv (link)
• Ritchie, Ward (1986). The Huntington Art Collections: A Handbook. San Marino, California: The Huntington Library.CS1 maint: ref=harv (link)
• Wilson, William (1984). The Los Angeles Times Book of California Museums. New York: Harry Abrams, Inc.CS1 maint: ref=harv (link)

Further reading

• Secrest, Meryle (2004). Duveen: A Life in Art. New York: Random House, Inc. ISBN978-0-226-74415-5.

External links[edit]

The Blue Boy (c. 1770) is a full-length portrait in oil by Thomas Gainsborough, now at the Huntington Library, San Marino, California.^[2]

History[edit]

Perhaps Gainsborough's most famous work, it is thought to be a portrait of Jonathan Buttle (1752–1805), the son of a wealthy hardware merchant, although this has never been proven. It is a historical costume study as well as a portrait: the youth in his seventeenth-century apparel is regarded as Gainsborough's homage to Anthony van Dyck, and in particular is very close to Van Dyck's portraits of Charles II as a boy.

Gainsborough had already drawn something on the canvas before beginning The Blue Boy, which he painted over. The painting is about life-size, measuring 48 inches (1,200 mm) wide by 70 inches (1,800 mm) tall. Gainsborough painted the portrait in response to the advice of his rival Sir Joshua Reynolds,^[3] who had written:

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. 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.^[3]

The painting was in Jonathan Buttle's possession until he filed for bankruptcy in 1796. It was bought first by the politician John Nesbitt and then, in 1802, by the portrait painter John Hoppner. In about 1809, The Blue Boy entered the collection of the Earl Grosvenor and remained with his descendants until its sale by the second Duke of Westminster to the dealer Joseph Duveen in 1921.^[4] By then, it had become a great popular favourite in print reproductions, after being exhibited to the public in various exhibitions at the British Institution, Royal Academy, and elsewhere.

In 1919, the painting inspired German film producer Friedrich Wilhelm Murnau to create his debut film Knabe in Blau (The Boy in Blue).^[5]

In a move that caused a public outcry in Britain, it was then sold to the American railway pioneer Henry Edwards Huntington for $728,800 (£182,200), according to Duveen's bill,^[6] a then-record price for any painting. According to a mention in The New York Times, dated 11 November 1921, the purchase price was $640,000, which would be $9.17 million in 2019.^[7]

Before its departure to California in 1922, The Blue Boy was briefly put on display at the National Gallery where it was seen by 90,000 people; the Gallery's director Charles Holmes was moved to scrawl farewell words on the back of the painting: 'Au Revoir, C.H.'^[8]

It was this painting that moved pop artist Robert Rauschenberg toward painting.^[9] It is often paired with a painting by Thomas Lawrence called Pinkie which sits opposite to it at the Huntington Library.

References[edit]

Citations[edit]

1. ^Children's Encyclopædia Britannica. 8. London. 1969. p. 12; see plate.
2. ^'Jonathan Buttal: The Blue Boy (c 1770)'. The Huntington Library. Archived from the original on 19 June 2010. Retrieved 7 December 2009.
3. ^ ^abGower, Ronald Sutherland (1903). Thomas Gainsborough. G. Bell and Sons. pp. 77–78. Retrieved 2 October 2012 – via Google Books.
4. ^'Duveens offer a Reynolds to Louvre'. New York Times. 19 October 1921.
5. ^Bock, Hans-Michael (2009). Hans-Michael Bock, Tim Bergfelder (ed.). The concise Cinegraph: encyclopaedia of German cinema. Berghahn Books. p. 334. ISBN978-1-57181-655-9.
6. ^Thorpe, James Ernest, Henry Edwards Huntington, A Biography, Berkeley: University of California Press, 1994, p. 438.
7. ^'WolframAlpha conversion'.
8. ^''Blue Boy's' Transfer Begins in Secrecy'(PDF). The New York Times. 26 January 1922. Retrieved 7 December 2009.
9. ^Tuchman, Phyllis (16 May 2008). 'The Invincible Robert Rauschenberg'. Obit Magazine. Retrieved 6 December 2009.

Further reading[edit]

• Conisbee, Philip (2003). 'The Ones That Got Away'. In Verdi, Richard (ed.). Saved! 100 Years of the National Art Collection Fund. London: Scala.
• Conlin, Jonathan (2006). The Nation's Mantelpiece: A history of the National Gallery. London: Pallas Athene.
• Thicknesse, Philip (1790). Life of Sir Thomas Gainsborough.
• Tyler, David (2004). 'Jonathan Buttall'. Oxford Dictionary of National Biography. Oxford: Oxford University Press.

See also[edit]

External links[edit]

Pinkie And Blue Boy Painting Value

Media related to The Blue Boy at Wikimedia Commons

Pinky And Blue Boy Painting How Much