It has been nine weeks since The Blue Boy left The Huntington Art Museum’s Thornton Portrait Gallery for a journey back to its birth home. On January 25, 2022, one hundred years to the day the painting left England forever, The National Gallery in London opened an exhibition of the works of celebrated English painter Thomas Gainsborough called ‘Gainsborough’s Blue Boy: The Return of a British Icon.’
For the gallery, it was a much-anticipated event that was years in the making. In the catalog of the exhibition, The National Gallery Director Gabriele Finaldi, writes that initial negotiations about the possible loan of the painting held between Lord Rothschild and representatives of The Huntington began in 2015 – three years before either Karen Lawrence (The Huntington Library, Art Museum, and Botanical Gardens president) and Christina Nielson (The Huntington’s Hannah and Russel Kully Director of the Art Museum) assumed their current posts.
‘Gainsborough’s Blue Boy’ exhibition catalogue | Photo by May S. Ruiz / Hey SoCal
The Huntington hired its first conservator, Christina O’Connell, in 2013 and one of her initial projects was a survey of the art collections. In 2017 she planned and undertook ‘Project Blue Boy,’ the first technical examination and conservation work that was done in public view. A special satellite conservation studio was set up in the west end of the Thornton Portrait Gallery for the year-long exhibition, from September 22, 2018 to September 30, 2019. More than 217,000 people – many of whom traveled several miles – came to see it. Several habitués to The Huntington speculated that the possible loan was the impetus for the conservation work.
That The Blue Boy has reached an iconic stature is demonstrated by how much attention and scrutiny it invites … and how people react to any news about it. In 1921, when British citizens learned that the second Duke of Westminster sold The Blue Boy to an American industrialist, protests broke out in the streets. When it was on view at the National Gallery for three weeks in January 1922, approximately 90,000 people – some of whom wept – queued to see it for the last time.
Visitors view Thomas Gainsborough’s The Blue Boy at The Huntington in the 1930s | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
The National Gallery’s then director, Sir Charles Holmes, nostalgically inscribed ‘Au Revoi, C.H.’ at the back of the painting. O’Connell, when she worked on ‘Project Blue Boy,’ very thoughtfully made sure it was also preserved. While that wish was granted a century later, Nielsen assures that it didn’t influence The Huntington’s magnanimous loan. “Strictly speaking, we agreed to lend only after lengthy consideration of a number of factors. But it makes part of a great story!”
In a reversal of events, when The Huntington announced in July last year that The Blue Boy was traveling to England for an exhibition, a wave of comments and views erupted. Art enthusiasts and museum-goers – some of whom didn’t have professional art experience – had as strong an opinion on the matter as art critics and experts. L.A. Times art critic Christopher Knight expressed incredulity that The Huntington went against the advice of the very experts the institution consulted. He said conservation experts believed the painting was too fragile to make that arduous journey. The Huntington, just as quickly, issued a response that refuted Knight’s claims. In the letter, Lawrence and Gregory A. Pieschala, The Huntington’s Chair of Board Trustees, mentioned that the institution convened a second panel of conservators and curators in 2019 when most of the conservation work was complete and it advised that the painting could be lent safely.
On both sides of the Atlantic, news that The Blue Boy will be back in its home country for a 16- week exhibition – from January 25 through May 15, 2022 – garnered extensive publicity. Articles were written about The Blue Boy’s storied history and how its image has been used and appropriated.
A Cadbury Company chocolate tin depicting Blue Boy, ca. 1920 | Photo by Aric Allen / The Huntington Library, Art Museum, and Botanical Gardens
The exhibition is expected to draw large crowds as well. While the National Gallery will not release visitation data until the exhibition has closed, Christine Riding, curator of the ‘Gainsborough’s Blue Boy,’ provided an anecdotal report. “The Blue Boy is proving incredibly popular with National Gallery visitors. From the very first day the exhibition opened, with a long queue of people keen to be the very first to say hello to him on his return, we’ve experienced large amounts of people each day eagerly making their way through the Gallery to see this exceptional loan.”
However, much like many renowned works of art, The Blue Boy’s popularity came long after the painter’s death. Riding writes in the exhibition’s catalogue, “One of the ironies of art history is that Thomas Gainsborough’s Blue Boy attracted little public attention (as far as contemporary sources relay) when it was first shown at the Royal Academy in 1770. Yet 150 years later, when it was sold to the American tycoon Henry E. Huntington, it was one of the most famous paintings in the world.”
Indeed, images of the Blue Boy has appeared on everything from chocolate tins to folding screens, as fashion historian and curator Kimberly Chrisman-Campbell chronicles in a blog titled ‘Blue Boy Mania: How Gainsborough’s Masterpiece Colored Pop Culture.’ In it, she records the painting’s history and its appeal to advertisers, entertainers, and interior decorators.
The New Renaissance Society, ‘Baroque n’ Stones’, Hanna Barbera Records, 1966. Blue Boy, wearing shades, graces the cover of this album of Baroque-style musical treatments of such Rolling Stones classics as ‘Get Off of My Cloud’ and ‘(I Can’t Get No) Satisfaction’ | Photo by Aric Allen / The Huntington Library, Art Museum, and Botanical Gardens
Anyone who has seen The Blue Boy identifies with it in some ways. And just like beauty being in the eye of the beholder, the painting stirs a different feeling or emotion in each of us. Leading up to the exhibition opening at The National Gallery, articles published in the U.K. demonstrated this. Matthew Wilson wrote in BBC Culture about its appropriation (or misappropriation) as a symbol for gay pride. Meanwhile, art historian Dan Ho paid a tribute to it in February for LGBTQ+ History Month. Jonathan Jones shared his jaded view in The Guardian that ‘it’s as a hokey vision of English art as a Disney cartoon of a fox hunt.’
Asked by email if the disparate sentiments expressed in the articles make people curious to see The Blue Boy, or if they take away from its mystique, Nielsen replies, “The painting has captivated audiences since it first went on display in 1770. It means something different to everyone who sees it, and that is part of its magic.”
Stories about The Blue Boy will be written in the decades and centuries yet to come. This gorgeous boy, who has inspired countless interpretations and conjured just as many images, could very well signify something else altogether to the generations after us. Some of the ways people relate to him and the painting may not be what Gainsborough originally intended. In Wilson’s BBC Culture article, he cites an art history professor saying “artists cede control of their creations once they are absorbed into the public arena.”
And, in essence, that’s the greatest gift artists could leave behind – for people to make of their artwork what they will. At the same time, it’s an assurance that their artwork will continue to be relevant.
Originally published on 8 October 2021 on Hey SoCal
Kehinde Wiley’s ‘A Portrait of a Young Gentleman’ | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
On Saturday, Oct. 2, 2021, The Huntington Library, Art Museum, and Botanical Gardens (The Huntington) unveiled Kehinde Wiley’s “A Portrait of a Gentleman,” a modern-day interpretation of Thomas Gainsborough’s magnificent 18th century masterpiece. It will be on display at the Thornton Portrait Gallery as part of an exhibition which includes other paintings hanging outside in the north passage. (Thomas Lawrence’s “Pinkie,” another renowned treasure, has been moved there but will be back in the portrait gallery next year.)
Commissioned by The Huntington to celebrate the 100th anniversary of “The Blue Boy’s” acquisition by Henry and Arabella Huntington, “A Portrait of a Young Gentleman” will be in the museum’s permanent collection and visitors can still view it after the show ends on Jan. 3, 2022.
Wiley has famously talked about The Huntington having a major role in his formative years. “I loved The Huntington’s galleries; the paintings by Joshua Reynolds, Thomas Gainsborough, and John Constable were some of my favorites. I was taken by their imagery, their sheer spectacle, and, of course, their beauty. When I started painting, I started looking at their technical proficiency – the manipulation of paint, color, and composition. These portraits are hyperreal, with the detail on the face finely crafted, and the brushwork, the clothing, and the landscape fluid and playful. Since I felt somewhat removed from the imagery – personally and culturally – I took a scientific approach and had an aesthetic fascination with these paintings. That distance gave me a removed freedom. Later, I started thinking about issues of desire, objectification, and fantasy in portraiture and, of course, colonialism.”
Karen Lawrence, president of The Huntington, speaking to the press during a preview one hour before the public viewing remarks, “We’ve long admired Kehinde Wiley’s work and the idea of engaging him with us at The Huntington has been in the works and under development for a few years. It is impossible to communicate how thrilling this moment is for us. We often think about influence as a one-way street: the past affecting the present. But as these two portraits of a ‘young gentleman’ face each other across this gallery and across 250 years of history, we can recognize that the present affects the past – the present powerfully reconfigures the past.”
“Kehinde Wiley’s magnificent portrait does more than engage with Gainsborough’s 18th century masterpiece ‘The Blue Boy’ and the other works on display in this room,” continues Lawrence. “It really brings Wiley full circle to a place that he himself has said influences his art practice greatly. For it was to The Huntington that he came as a child with his mother and spent much time looking at these oversized portraits and their grand landscapes. He was impressed in two ways – by the sheer beauty of the brushstrokes and the grandeur of the composition – as much as by what was missing – the lack of representation of anyone who looked like himself.
“When we celebrated our centennial at The Huntington in 2019 we committed ourselves to re-examining the past and re-imagining the future. In this sense, our archives and collections are alive. Kehinde Wiley’s painting changes the Grand Manner portraits of the English nobility surrounding us.”
The themes of past and present are further explored when Christina Nielsen, director of The Huntington Art Museum, tells how Gainsborough – who preferred landscapes – became a portrait painter because it was the more lucrative career, how he broke into the London art market, and then gained national prominence.
Installation view of Gainsborough’s ‘Blue Boy’ | Photo courtesy of The Huntington Library, Art Museum, and Botanical Gardens
“Gainsborough called upon the art of artists before him – van Dyck, in particular – and produced ‘A Portrait of a Young Gentleman,’ as he named it, and displayed it in 1770 at the Royal Academy Exhibition. It was a show stopper. He threw everything at it, including enormously expensive pigments: lapis, azurite, cobalt, indigo. He tweaked artistic conventions and went against reigning art theory of the day, which says blue should not provide a compositional methodology for a painting. It was a sensational success and artists of the time renamed Gainsborough’s painting ‘Blue Boy.’”
Nielsen expands, “The Huntington Art Museum has the enormous responsibility of being the steward of Gainsborough’s ‘Blue Boy.’ We are the keeper of this work for present visitors and future generations. It is one of the most influential and beloved master paintings in an American collection and we feel it very keenly on a daily basis. In the 250 years since its existence, it has influenced people like Whistler, Rauschenberg, now Wiley, among many others. It has absolutely sparked public imagination. It was on Cadbury tins in Great Britain before coming to the United States and it was in 11 exhibitions across the 19th century. It was reproduced and hanging on the walls of most British homes before it was purchased by Henry and Arabella Huntington in 1921.”
“And as we celebrate the 100th anniversary of its coming here, we also know how beloved it has become not only for British audiences,” Nielsen says further. “It is an American icon thanks to popular culture that emanates from California, specifically the movie industry. Stars from Marlena Dietrich to Jamie Foxx have dressed up and appeared in Hollywood movies as the ‘Blue Boy.’ It’s iconic on so many levels it’s hard not to sound hyperbolic. And if you have a painting like that in your collection, how do you respond for 21st century audiences?”
“There are few living artists today who could respond to the call like the one emanating from Gainsborough’s ‘Blue Boy.’ Kehinde Wiley answered the phone and responded magnificently. He is a painter who singlehandedly has changed the conversation about portraiture in the country, the power of representation, and the representation of power,” declares Nielsen.
And because everything today is global, ‘A Portrait of a Young Gentleman’ corresponds in its span. The model looks like someone every Angeleno can relate to – a surfer dude wearing a tie-dyed tee shirt, neon blue shorts, and Vans shoes, standing in a field of bright orange California poppies. Yet, he is anonymous. And there is universality in anonymity, according to Nielsen.
Christina Nielsen (left) and Karen Lawrence (right) | Photo by May S. Ruiz / Beacon Media News & Hey SoCal
Wiley began working on the portrait during lockdown in Senegal where his Black Rock Senegal multidisciplinary artist-in-residence program is based, so Nielsen thinks his model is a young man from Dakar. The painting moved to his Beijing studio and then to his New York atelier early this summer. It then came to Los Angeles where it was placed in a train with an exact replica of the 18th century frame that The Huntington purchased a decade or so ago for the ‘Blue Boy.’ The frame was hand-carved in Nicaragua.
Seeing Wiley’s “A Portrait of a Young Gentleman” occupying the space that has been “The Blue Boy’s” pride of place in the last hundred years might come as a surprise to some. It seems like a dissonance from all the paintings of properly-attired personalities in the gallery.
“Some of the Grand Manner sitters are in clothes of the day. Even in the 18th century, fashion was an incredibly important marker,” Nielsen explains. “Kehinde Wiley inserts black bodies into historical stories, and what these people would be wearing today. He’s also very aware of fashion and high fashion; these choices are all incredibly deliberate and conscious. The portraits right now face each other in the characteristic gesture. The details in the Wiley speak to the contemporary.
“All art was once contemporary and Gainsborough’s was revolutionary in his day and was the catalyst for his fellow artists and visitors to that original Royal Academy show. I imagine this will feel catalytic. I know how I felt when I walked into this room and saw it on the wall. I can also say that several days in, I have fully metabolized it and now it feels like it’s always been here. You can’t look at it without thinking of them, you can’t look at them without feeling its presence. It’s incredibly exciting the range of conversations that this will open up for our audiences and I imagine, as always, art will elicit responses across the whole spectrum. It will take time for some people and some will immediately just feel the joy and exuberance.”
Lawrence says, “Kehinde’s portrait of Barack Obama for the National Portrait Gallery transformed everyone’s thought about presidential portraiture – the Grand Manner genre of presidential portrait was stunningly interrupted. And with that of Barack Obama’s added with all the white faces, you could predict how this will enter into the canon. The significance will be great.
“We wanted The Huntington to make invitations to re-interpret cultural practice as well as our historical and literary archives and collections in the library. For contemporary practitioners to activate, motivate, respond to what we have because otherwise, what’s the point? We’ve made that invitation and I think that the audiences for the Huntington will come here and see the continuity of past, present, and future, and embrace that. What is unexpected? What are the different voices? These are opportunities that we want to take. I’m speaking for myself and Christina and we’re absolutely thrilled with what Wiley has chosen to do.”
Originally published on 10 September 2021 on Hey SoCal
Installation view of The Blue Boy | Courtesy Photo / The Huntington Library, Art Museum, and Botanical Gardens
Last month we published an article about the announcement that The Huntington Library, Art Museum, and Botanical Gardens has decided to loan our beloved “Blue Boy” to the National Gallery in London. Gainsborough’s magnificent work, which left England for the United States on Jan. 25, 1922, will be part of an exhibit that is set to open exactly 100 years since that day.
In its announcement, Huntington President Karen R. Lawrence, remarked, “This masterpiece has made an indelible mark on both art history and popular culture, capturing the imaginations of a wide range of audiences. Given ‘The Blue Boy’s’ iconic status at The Huntington, this is an unprecedented loan, one which we considered very carefully. We hope that this partnership with the National Gallery will spark new conversations, appreciation, and research on both sides of the Atlantic.”
We in the San Gabriel Valley are so fortunate to have world renowned museums and to have been exposed to stunning works by some of the greatest artists who ever lived. Most of us have never known a time when “The Blue Boy” wasn’t at The Huntington. So we asked our readers to tell us how they feel about it traveling to London and share with us their experience with this piece of art.
While we didn’t receive as many responses as we had hoped, we learned that our readers have informed opinions with information to impart. We also feel that what we did get are representative of people’s reactions and we’re printing them below:
“My informal response to your informal survey is that if the experts say it’s not safe for the painting to travel, then it shouldn’t. I’m also concerned that if the painting does go to London, what’s to keep their museum from saying that the painting is too fragile to send back?
“As you can see, I’m reluctant to let it go.”
Meg Gifford Pasadena
“Everybody likes to return home, even for a short visit … and I’m sure ‘Blue Boy’ is among them. So I wish him “calm seas and prosperous voyage.”
“The greatest gift master painters have given mankind is that it doesn’t take an advanced degree in art to appreciate their work.
“Even as a rustic with no refinement, I have stood at length in reverence before Gainsborough’s masterpiece. And in so doing, I convinced myself that if I touched that canvas, I wouldn’t feel a flat surface, but instead Blue Boy’s silken garment and his flesh underneath it.”
David Quintero Monrovia
‘The Blue Boy’ post conservation | Photo by Christina Milton O’Connell / The Huntington Library, Art Museum, and Botanical Gardens.
“I believe it is a wonderful opportunity to return it to the land from whence it came so that a ‘new generation’ can admire its beauty. The concerns cited can be mitigated if those involved will check history regarding other great works of art that traveled outside their respective country.
“The Mona Lisa was painted in 1503, 276 years BEFORE Blue Boy. Thanks to the efforts of former First Lady Jacqueline Kennedy, France’s national treasure, a very fragile piece of art, was shipped to America. On January 8, 1963, Leonardo da Vinci’s Mona Lisa made its first appearance when it was put on display at the National Gallery of Art in Washington, D. C. It was transported by the S.S. France ocean liner in a temperature-controlled box in its own stateroom, accompanied by armed guards. The temperature, which was alarm-monitored, would not be allowed to fluctuate by more than one degree throughout the entire journey. Eleven years later, in 1974, the Mona Lisa once again left France to travel to Russia and Japan. It can be done without endangering the masterpiece.
“Françoise Nyssen, France’s former Minister of Culture, once said that she didn’t believe works of tremendous cultural significance should be confined to a single institution. I thoroughly agree. Whenever possible, great works of art should be shared with the world.
“Thank you.”
Charlotte Farmer Arcadia
“My first memories of seeing the ‘Blue Boy’ was in the 1970s when my parents took me to The Huntington as a young kid. It was my mom who introduced me to it, saying it’s a great piece of art. But my appreciation of it at the time was due to the fact that the painting was of a child, like me. I remember it also being next to “Pinkie,” and I don’t know if they were meant to be deliberately displayed next to each other. While these were paintings from a long time ago, I felt a connection and kinship with them.
“That impression stayed with me to this day so when we have visitors, I take them to The Huntington and show them the ‘Blue Boy.’ When my cousins from Japan came in 2018 for my dad’s 88th birthday celebration, I took them to the mansion along with a niece and nephew who aren’t from this area. I told them about The Huntington’s conservation project and what the x-rays showed beneath the painting. I was able to share a part of my local culture to two generations. There was a language barrier between my Japanese cousins and my American relatives and they had to use Google translate to communicate, but it was a fun family experience tied to the ‘Blue Boy.’
“It’s a nice gesture to share the artwork and I hope it’s safe for it to travel that far. However, its absence will sadden many of us who have grown up knowing it’s always been there. I imagine ‘Pinkie’ will also be sad not to have him by her side. What’s going in that space while ‘Blue Boy’ is away?
“I’m a member of The Huntington and I take strolls at the gardens. And every time I go to the mansion, I make it a point to see the ‘Blue Boy.’ It’s a magnificent piece of art and embodies what I think The Huntington is about. There are so many rotating exhibits – even at the promenade area – but seeing the ‘Blue Boy’ always makes me happy. It evokes emotions and memories of my childhood. I’ll be looking forward to its safe return.”
Stephanie Yamasaki Altadena
The board of The Huntington will be glad to know that their decision has more proponents than opponents and art experts can be assured that “The Blue Boy” can safely travel, as one reader asserted. And we can be gratified in the thought that art enthusiasts across the Atlantic will have the rare chance to see and experience the treasure we hold precious.
Originally published on 19 August 2021 on Hey SoCal
‘The Blue Boy’ | Photo by Christina O’Connell / Huntington Library, Art Museum and Botanical Gardens
Among the many treasures housed in The Huntington’s art galleries, none has a more storied history than Thomas Gainsborough’s “The Blue Boy.” It had been a beloved artwork in its homeland – images of the boy in the striking blue attire appeared on various souvenir items. Its purchase in 1921 by an American collector caused quite a stir among the British people and they took to the streets when they found out that it was leaving for America.
“The Blue Boy” has occupied an important place at the Huntington Library, Art Museum, and Botanical Gardens since it opened in 1928. Along with the breathtaking and expansive gardens, the many valuable collections in the library – William Shakespeare’s quarto and folio editions, a rare Gutenberg bible on vellum, the Ellesmere manuscript of Chaucer’s “Canterbury Tales,” and Benjamin Franklin’s handwritten autobiography, among them, – the impressive works of art in the various galleries, the “Blue Boy” attracts more than 800,000 visitors every year.
In 2018, The Huntington embarked on “Project Blue Boy,” a nearly three-year conservation project to analyze, stabilize, clean, and restore the painting. To provide visitors a peek into the art and science of the process in real time, much of the conservation work was performed in public. Senior paintings conservator Christina O’Connell, who led the project, gave approximately 170 gallery talks and answered questions posed by the more than 200,000 visitors who came to watch the progress between 2018 and 2019.
The restored “Blue Boy” was scheduled to be back at the Thornton Portrait Gallery on March 26, 2020 but the coronavirus pandemic delayed that much anticipated unveiling (read related article here). While it was back at its usual spot in September last year, it was only on April 17 this year – when The Huntington’s art galleries were again open to the public – that visitors got to see Gainsborough’s masterpiece.
And then last month, The Huntington announced that “The Blue Boy” will be returning to England 100 years after it left. From Jan. 25 through May 3, 2022, it will be on display at the National Gallery in London – a reversal of events when it was last viewed by 90,000 people during its last three weeks there before it departed for its new home in California.
This time, the news stunned art experts. In a Los Angeles Times article published on July 6, art critic Christopher Knight wrote that he asked Mark Leonard, a retired conservator of paintings at the J. Paul Getty Museum, for a comment. Leonard replied that the panel of nine American and European art conservators – experts the museum convened in December 2018 to evaluate the “Blue Boy’s” condition – expressed shock about the decision made by The Huntington’s board of trustees.
Knight further wrote that “sending the picture was unanimously opposed by the expert team, who believed travel puts the prized work at grave risk. They warned of potential structural damage to the 250-year-old canvas from the arduous trip.”
While it’s magnanimous of The Huntington board to lend “The Blue Boy” to the National Gallery so that others across the Atlantic are afforded the opportunity to once more see it, we in the San Gabriel Valley are also very protective of it. We have wonderful memories of going to the Thornton Gallery to gaze in awe at Gainsborough’s genius, and we want to make sure the painting celebrates its next centennial.
How do you feel about “The Blue Boy” traveling 5,429 miles and being gone for four months? We invite you to send us an email and tell us, in 100 words or fewer, your thoughts about it and share your experience looking at this magnificent work of art. Send your email to: MayRChu56@gmail com. Unless you request otherwise, we will include your name when we publish our informal poll.
Originally published on 18 September 2020 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly
‘The Blue Boy’ by Thomas Gainsborough post conservation photo | Photo by Christina Milton O’Connell / The Huntington Library, Art Museum, and Botanical Gardens
Created by English landscape and portrait painter Thomas Gainsborough around 1770, ‘The Blue Boy’ occupies a place of honor at The Huntington Library, Art Museum, and Botanical Garden’s Thornton Portrait Gallery and is seen by about 800,000 people annually. After an 18-month restoration project, it has been rehung and will be available for viewing when it’s safe for the museum to reopen. And when we do get the chance to visit again, we’ll fully appreciate why the painting gained the moniker.
‘Project Blue Boy’ began in 2017 when conservators carried out a preliminary analysis of the painting. It was examined and documented using a range of imaging techniques that allowed Christina O’Connell, senior paintings conservator, and Dr. Melinda McCurdy, associate curator of British art, to see beyond the surface with wavelengths the human eye can’t see. Infrared reflectography rendered some paints transparent, making it possible to see preparatory lines or changes the artist made. Through ultraviolet illumination, they were able to examine and document the previous layers of varnish and old overpaints.
Their findings determined what needed to be done and how it was going to be accomplished – ‘The Blue Boy’ required conservation to address both structural and visual concerns. “Earlier conservation treatments mainly have involved adding new layers of varnish as temporary solutions to keep it on view as much as possible,” O’Connell declared at the start of the project. “The original colors now appear hazy and dull, and many of the details are obscured.”
According to O’Connell, there were also several areas where the paint was beginning to lift and flake, making the work vulnerable to paint loss and permanent damage; and the adhesion between the painting and its lining was separating, meaning it did not have adequate support for long-term display.
New images of the back of the painting were taken to document what appeared to be an original stretcher (the wooden support to which the canvas is fastened) as well as old labels and inscriptions that told more of the painting’s story. Furthermore, minute samples from the technical study and from previous analysis by experts were studied at high magnification (200-400x) with techniques including scanning electron microscopy with which conservators could scrutinize specific layers and pigments within the paint.
The undertaking uncovered new information of interest to art historians as well. During preliminary analysis, conservators found an L-shaped tear more than 11 inches in length which, data suggest, was made early in the painting’s history. The damage may have occurred during the 19th century when the painting was in the collection of the Duke of Westminster and exhibited frequently.
Side-by-side comparison of Thomas Gainsborough’s ‘The Blue Boy,’ Pre-conservation (left), post conservation (right) | Photo by Christina Milton O’Connell / The Huntington Library, Art Museum, and Botanical Gardens
It was decided early on that this conservation project was going to be different from what they had undertaken before – it would have an educational component and involve the community. The Huntington partnered with Bank of America’s Art Conservation Program to finance the massive undertaking.
For the first time in its history, The Huntington held a year-long exhibition from September 2018 to September 2019 showcasing the project in progress – the capstone of its centennial celebration. During the first three months, ‘The Blue Boy’ was on public view in a special satellite conservation studio set up in the west end of the Thornton Portrait Gallery, where O’Connell worked on the painting to continue examination and analysis, and began paint stabilization, surface cleaning, and removal of non-original varnish and overpaint.
It went off view from February through June when O’Connell performed structural work on the canvas and applied varnish with equipment that couldn’t be moved to the gallery space. ‘The Blue Boy’ then returned to the gallery where visitors witnessed the in-painting process until the close of the exhibition.
The final phase – held off view from October 2019 to March 2020 – involved in-painting, varnishing, supportive backing, and adjusting the framing.
A stabilized and restored painting was scheduled to be back at the Thornton Portrait Gallery in the spring, but the pandemic delayed the public unveiling until Thursday, Sept. 10. To help get the word out, The Huntington held a virtual press briefing. In conjunction with the event, Dr. McCurdy and O’Connell agree to be interviewed by email.
Christina Milton O’Connell, Mary Ann and John Sturgeon Senior Paintings Conservator, removed discolored varnish with small swabs | Courtesy Photo / The Huntington Library, Art Museum, and Botanical Gardens
I ask if they were able to find the answers to questions they had when they embarked on the project: What technical means did Gainsborough use to achieve his spectacular visual effects? Did he develop special pigments, create new materials, pioneer new techniques?
O’Connell replies, “We’re still waiting on some data from our samples and we hope to have more information soon. What we do know is that Gainsborough used a complex mixture of many different pigments together to make his colors. He also used many layers of opaque and transparent paint to create different visual effects. Now that the painting has been cleaned, we can see nuances of his brushstrokes that were obscured under the discolored/cloudy varnish. We can appreciate his technique from the fluid and fast strokes he applied to the sky and landscape to the more complex network of paint strokes that comprise the figure of the boy.
What might new technologies tell us about this earlier abandoned portrait? Where does this lost painting fit into his career? How does it compare with other earlier portraits by Gainsborough? Will there be other evidence that may become visible beneath the surface paint, and what it might indicate about Gainsborough’s painting practice?
“The digital x-ray gave us a clearer picture of the abandoned painting than we had previously,” answers Dr. McCurdy. “We were able to capture more of figure’s face, including his eyes, which we had never seen before. That was an exciting discovery. Unfortunately, there just wasn’t enough information for us to identify the sitter or to suggest a specific date range for the portrait.”
Adds O’Connell, “As Melinda indicated, we learned a lot from the x-rays. We also used infrared reflectography (IRR) to see through some of the layers of paint (X-rays go through all the layers). With IRR, we could confirm that Gainsborough didn’t take that previous portrait very far – he only captured the likeness of the sitter and painted very preliminary outlines for the figure’s shoulders. I’d like to point out that there isn’t one analytical technique that provides all the answers, we have to study the painting with many different forms of technology to get different pieces of information.
Did you discover other evidence beneath the surface paint and what did it indicate about the artist’s painting process?
“We used some techniques of analysis that hadn’t previously been used to study the painting,” says O’Connell. “One of those techniques is infrared reflectography (IRR). With this analysis, we can see what is beneath some of the paint layers and it’s a useful technique for examining the preparatory layers or sketches an artist applied under the paint. For Blue Boy, we can see preparatory lines that establish the bold pose of the figure from the very beginning stages.
Christina Milton O’Connell uses tiny brushes to reconnect Gainsborough’s brushstrokes across the voids of past damages | Courtesy Photo / The Huntington Library, Art Museum, and Botanical Gardens
I ask if there were other revelations they hadn’t expected to unearth and Dr. McCurdy responds, “We hadn’t expected to find that the painting had suffered a major damage in the past. The canvas had been torn, but it had been repaired so well that it hadn’t shown up in previous x-rays.”
Continues O’Connell, “Discovering the tear helped us understand the reason why the painting was lined. There was a large damage that needed repair.”
“How does this restoration project compare with others you have done before?” I inquire.
“The condition issues for Blue Boy were not surprising for a painting from the 18th century,” O’Connell discloses. “Each treatment is slightly unique and a conservator has to take into account the original materials and how they’ve aged over time, but also the past treatments and restorations. Each project is a unique case study and that’s one of the things I love about the field.”
Painting restoration doesn’t sound like a thrilling project for the average person who isn’t knowledgeable about art, so I ask what we should find exciting to know. I tell them I was shocked to learn that Gainsborough had painted over something – it seems sacrilegious – but I imagine it was a common practice among artists.
Dr. McCurdy explains, “It is not that uncommon to find another painting beneath the surface composition. There are many reasons an artist might decide to paint over something else – maybe the composition didn’t work out the way s/he wanted? Maybe a client did not pay? Materials are expensive, so it could also happen for cost-saving reasons. In this case, we know that Gainsborough didn’t paint Blue Boy as a commissioned work, so he wasn’t being paid for it. It made financial sense to re-use a canvas he already had.”
“Sharing the treatment process with our visitors created another avenue for them to learn about and see Blue Boy in a new way,” O’Connell expounds. “Visitors were extremely fascinated to learn about all the layers that comprise the painting (there are 8-9 and you wouldn’t know that just from looking at the surface). Some visitors are drawn to learning more about Gainsborough’s technique and others were drawn to the process of conservation. Some were interested to see the forensic side of the technical investigation. The focus on research and education (part of The Huntington’s mission) really meant that this project had something for everyone.
Christina Milton O’Connell in-painting in the conservation lab | Courtesy Photo / The Huntington Library, Art Museum, and Botanical Gardens
“I have many memories from visitors coming to the gallery, but one that stands out was a day when I had a detailed discussion with an artist and a polymer chemist from JPL about varnishes. They both had a different reason for asking their questions and a different experience and understanding of varnish, but everyone was engaged.”
Please share your thoughts about what you, personally, learned as you did this project, I ask.
Dr. McCurdy states, “In watching Christina uncover Gainsborough’s original palette from beneath layers of dirt and discolored varnish and overpaint, it was remarkable to see this painting that everyone knows through cheap reproductions be revealed as a truly compelling work of art. Now, we get a better sense of the relationship between the figure and the landscape, we are better able to see the complexity of Gainsborough’s brushwork, and the true colors of the figure’s blue costume. Due to the discoloration, it had appeared slightly green-ish. That effect is now gone, and it is brilliant blue again. It must have been striking to audiences who first saw it in 1770.”
“Conservation is very much a process of discovery,” concurs O’Connell. “I spent a lot of time looking at the surface of Blue Boy while setting tiny flakes of paint back into place and during the cleaning process where, inch by inch, I saw the original surface emerge from underneath many layers of degraded and cloudy varnish. Each treatment has unique problems to solve and decision-making as part of the process, so there’s an opportunity for learning with each treatment.”
Lastly, I inquire if there’s something that they would like to add. And Dr. McCurdy divulges, “For me, the fact that The Huntington decided to do this conservation work on public view was important. Of course, this is a beloved painting to many of our visitors, and we knew we needed to keep it on display as much as possible, but the most exciting thing was the way the project engaged visitors with the role museums play in preserving cultural heritage. There were times when the crowd of visitors around the satellite conservation lab in the Thornton Portrait Gallery was several deep. People were excited to learn more about this painting and to see the conservation work unfold in front of them.”
Installation view of ‘The Blue Boy’ in the Huntington Art Gallery | Photo by John Sullivan / The Huntington Library, Art Museum, and Botanical Gardens
‘The Blue Boy’ has a storied provenance. Thomas Gainsborough was among the most prominent artists of his day. Though he preferred to paint landscapes, he built a flourishing career as portraitist to the British aristocracy whom he depicted at their leisure. However, ‘The Blue Boy’ wasn’t a commissioned work but was done to show off his skill at the Royal Academy. Later circulated accounts that Gainsborough did it to disprove another painter’s belief about the use of the color blue were dispelled by The Huntington’s curators as apocryphal and were made after his death. The model was believed to be Jonathan Buttall (1752–1805), the son of a wealthy merchant and who was also the first owner of the painting, but his identity remains unconfirmed.
Anthony van Dyck, the 17th century Flemish painter, was a major influence in British art and Gainsborough’s Blue Boy’ appears to be an homage to him. Instead of dressing the figure in the elegant finery worn by most sitters at the time, Gainsborough chose knee breeches and a slashed doublet with a lace collar – inspired by van Dyck’s ‘Portrait of Charles, Lord Strange.’ It made its debut at the Royal Academy exhibition of 1770 as ‘A Portrait of a Young Gentleman,’ where it received high acclaim. By 1798 it was being called ‘The Blue Boy.’
When Henry and Arabella Huntington purchased ‘The Blue Boy’ in 1921, it was already being hailed as Gainsborough’s greatest work and a national treasure. His image was on print reproductions, even on chocolate tin containers. It was no surprise then that the sale of the painting to an American caused an enormous protest in its homeland. The National Gallery displayed it one last time before it left for California and reportedly drew 90,000 people.
But they needn’t have lamented – ‘The Blue Boy’ is as beloved and treasured at his home of 99 years. As Christina Nielsen, The Huntington’s Hannah and Russell Kully Director of the Art Collections, pronounced during the press briefing, “We hold him in trust not only for this generation but for future generations.”
The boy wearing a dazzling blue outfit and defiant demeanor once more stands confident at The Huntington’s Thornton Portrait Gallery where he will continue to beguile hundreds of thousands of admirers into the next century.
Originally published on 23 June 2016 in the Pasadena Independent, Arcadia Weekly, Monrovia Weekly, and Sierra Madre Weekly
The Huntington Library, Art Collections and Botanical Gardens in San Marino is a venerable institution beloved by residents in the San Gabriel Valley, recognized by scholars all over the world, and visited by tourists of every color and stripe.
At the heart of this landmark foundation is Dr. Laura Skandera Trombley, who took over as its eighth president (and the first woman to hold the title) in July of last year. She oversees an organization with so many moving parts that perfectly coalesce to make The Huntington run as smoothly and seamlessly as it is beautiful and breathtaking.
Prior to her current post, Trombley served for 13 years as president of Pitzer, one of the Claremont Colleges in Southern California. Under her tenure the college raised its U.S. News & World Report ranking, and improved its acceptance rate. In 2012 The Chronicle of HigherEducation named Pitzer College the top producer of Fullbright Fellows among U.S. colleges.
Two weeks before commemorating her first full year at The Huntington, Trombley remarks on the past eleven and a half months, “It’s like discovering the wonderful contents of a treasure box – from the people, to the objects, to the gardens. The Huntington has the most amazing way of revealing itself like the petals of a flower. You see that the totality of it is stunning but the real beauty comes in the particulars. I’ve spent the year just looking at it a little more deeply than I have ever had before … and that has been really incredible for me.”
Like most people living in the area, Trombley is no stranger to the place. She remembers that as a child, she walked through the rose garden with her mother and went to tea. Years later she came back to The Huntington as a young scholar researching for her doctoral thesis.
Image taken from the Los Angeles Times
“I felt this strong connection to it and I thought my experience was atypical. But I soon learned that it’s not. In fact I’ve met families who’ve volunteered at The Huntington for three generations; we have someone who has been actively volunteering for 54 years. That a quarter of a million people have the same robust ties to The Huntington – that this is so widely shared – was something that I could not have anticipated,” Trombley observes.
Trombley has fully immersed herself in the operations of The Huntington. She has worked alongside volunteers to prune and deadhead the roses in the garden, meet school buses as they arrive for tours, and wrap gifts during the holidays. She says, “I don’t want to just sit in my office; part of the fun is engaging with people here.”
The work for Trombley going forward is several-fold. She wants to focus on what goes on inside the buildings – continue to expand The Huntington’s collections, increase funding for art exhibitions. Additionally, she’s thinking of putting on more outdoor art displays, making sure all staff are well-taken care of, and imagining how to enhance the visitor experience.
As president of Pitzer, Trombley grew its annual endowment from $42 million in 2003 to $133 million in 2014, and raised its national profile. As she is quick to point out, The Huntington is already a world-class organization as well as a global cultural institution and is in an incredibly robust financial position. Her charge is to continue to grow the institution and consider carefully its physical footprint.
The Blue Boy Installation after the conservation project | Photo courtesy of The Huntington
And as Trombley did in her previous post, she intends to make The Huntington a model of environmental responsibility. She states, “We are moving strategically towards sustainability – analyzing how much water and power we consume and looking at how we can use less of both.
“In fact, we will be a beta site for cutting-edge drip irrigation systems that are astoundingly sophisticated – they are all computer-controlled and can actually sense when it’s time to water. We’re considering installing low-flow toilets across the board, and maybe generating our own power.
“These things are options that are important not just because we are a very challenged area when it comes to water and power but also because more and more the state is requiring that people take measures. Beyond that, we are always a teaching institution and we want to exhibit best practice. We want to show a path for how people can become increasingly sustainable in their homes at an affordable way,” Trombley expounds.
Ten months ago, Trombley embarked on a mission to make The Huntington a food destination. She explains, “The thing that’s interesting, and at the same time is complex, is that we have so many constituents when it comes to food. We have children who want grilled cheese sandwiches, tater tots, and mac n’ cheese; adults who want an authentic fine-dining experience with chefs designing their meals; our staff who want organic food and pre-prepared meals they can take home so they won’t have to go to the market and cook dinner from scratch.
The Huntington’s Chinese Garden | Photo by Brianna Chu
“We plan to launch it in September and we hope it will be part of the attraction among the locals and particularly for our members. We want them to come for a nice walk and then enjoy an incredible meal with the best parking in Los Angeles. It would be so satisfying for me if people think of The Huntington when they want to have a world-class meal in an incomparable setting,” Trombley enthuses.
Dovetailing with this project is an expansion of their dining venues to accommodate the sheer number of people who visit. Trombley reveals they are building a second restaurant in the Chinese Garden – the Garden of Flowing Fragrance. The one that currently exists will very likely return to being a dim sum place, or become a real teahouse serving sweets and desserts, while the second restaurant would offer heartier fare.
Trombley says further, “We have received an enormous number of requests for a place to accommodate large parties for weddings, first birthdays, even dances. Right now we only have our grass area and not everyone wants to be on grass; we also have to build a stage, which adds to the expense. To meet that space requirement, we are on the final phase of fund-raising for a 600-seat venue on the hillside of the Chinese Garden to be used for events. It will be able to support a tent so we can have events at any time of the year. It would have a spectacular view of the Chinese Garden and the two restaurants there can cater the affair.”
There are several memorable events during Trombley’s first year that stands out in her mind. She describes her favorites, “The Huntington Ball is always lovely … I’d never been to a ball before … that was a lot of fun. It’s a fundraiser we hold every September for our members, guests and corporate sponsors.
The Huntington’s Rose Garden – Courtesy Photo
One event they had for the first time is the San Marino Day which Trombley initiated. In April The Huntington opened its gates and invited everyone to come free of charge – about 20 percent of San Marino’s population came in that day, reports Trombley. Another favorite is An Evening Among the Roses, held for the LGBT community. She is also looking forward to the completion of the Garden of Flowing Fragrance, a grand celebration slated for 2018.
“There are so many events here … and I’m not even mentioning the fantastic speakers who have all been extraordinary,” Trombley hastens to add. “Except for the San Marino Day which we held with my coming in, these other amazing events have been going on for a long time. But it’s a place that’s very open to new ideas … to creative ideas. I find that to be one of the best parts of The Huntington.”
When asked what vision she wants people to have at the mention of The Huntington, Trombley laughs and protests, “I think it would be almost impossible for me to name just one. We have The Huntington rose, The Blue Boy, Mark Twain’s manuscript of ‘The Prince and the Pauper.’ What I’ve learned is that everyone has a different mental image of it.
But one thing that comes to mind above everything is that it’s a kind and gentle place where people are treated very, very well. And it’s a place where you could just have a sense of spontaneous exhaling and, at the same time, an inhaling of creativity. I think that’s the most special aspect of The Huntington,” Trombley opines.
The Huntington is an institution that evokes as many different feelings and emotions as the tourists and visitors who come to experience it. And just as Trombley discovered when she came on board a year ago, every single person who steps into this wondrous oasis retains a deep connection to it.
While locals happily share The Huntington’s vast treasures with the thousands who come to visit annually, they are fiercely protective as they are intensely proud of this national treasure in their midst. They are also absolutely certain that in Trombley’s accomplished stewardship The Huntington will thrive and flourish for centuries to come.
Originally published on 16 January 2016 in the Pasadena Independent, Arcadia Weekly, Monrovia Weekly, and Sierra Madre Weekly
The Blue Boy by Thomas Gainsborough is so representative of The Huntington (Library, Art Collections and Botanical Garden) in San Marino that it is usually the first piece of art people seek out when they tour the gallery.
Visitors to the venerable San Marino landmark will either find it delightfully amusing or downright shocking when they see this iconic painting juxtaposed to a decidedly modern selfie of contemporary artist, Alex Israel, wearing a Dodger’s blue jacket. A year in the planning, this art intervention of works by Alex Israel opened to the public on December 12, 2015 and will be on view until July 11, 2016.
Kevin Salatino, Director of the Art Collections at The Huntington, says, “Not everyone would associate us with contemporary art, but we live in the 21st century so we should engage with all that’s 21st century. People think this mansion must have been exactly what it looked like when the Huntingtons were here, which is so far from the truth; it is not a static house. But there is a certain consistency to the kind of Gilded Age material that we continue to collect that complement what the Huntingtons had.”
It may surprise many to know that The Huntington has done the occasional contemporary intervention before now. Catherine Hess, Chief Curator of European Art, relates, “Our first intervention was a Ricky Swallow sculptures and Lesley Vance paintings exhibition in a small upstairs gallery. It was the beginning of the earthquake and we got our constituents through that.”
The decision to approach Alex Israel this time around was Salatino’s idea. He explains, “I have known Alex and have watched his career flourish. He loves L.A. and its iconography, the Hollywood dream machine, and fantasy. And so much about The Huntington is really about fantasy. About a year ago, Alex looked at the house and thought about his pre-existing work to decide which objects are right for The Huntington.
Our goal is to create a dialogue between the old and the new; we want people to see the old through the lens of the new, and vice-versa. Some people might react positively but some might respond negatively, but that would be better than for them not to think at all,” Salatino concludes.
Hess interjects, “One of the biggest surprises, at least in my perspective, after the installation was complete, was how some traditional Masters pieces were remarkably informed by the juxtaposition of Alex’s art, and the reverse. His work, in a vacuum, can read a certain way, but placed in this context, makes it compelling. I’m hoping people will also see it that way.”
Continues Salatino, “This contemporary installation is meant to be engaging, provocative, interesting. Then it goes away and we’ll do another one in a few years. A really good reason for having Alex’s work here is that he has a love affair with this area. It was much the same for Henry Huntington who fell in love with it after he visited. He initially thought he would buy the land and divide it up, but eventually decided to keep it. It was one of the first Beaux Arts residences and was the largest house for miles around until it was supplanted by Aaron Spelling’s mansion in West Hollywood. Alex grew up in the Holmby Park circle, looking up at Spelling’s house.”
The culture of Hollywood and celebrity is very much the central theme in Alex Israel’s oeuvre. Sprinkled throughout The Huntington are paintings, murals and sculptures that reference famous movies or icons from memorable films. It is a veritable scavenger hunt for visitors to the Art Gallery as they find contemporary pieces that have been placed alongside traditional art objects.
There is the crystal egg on a mantelpiece that was an iconic piece from the 1983 coming-of-age Tom Cruise film Risky Business, for instance. In another gallery, a cleverly concealed bronze prop will undoubtedly cause visitors to do a double-take at one of the most recognizable 1941 Maltese Falcon prop. In the ceramics study room, Alex displayed a mold of an Oscar statuette – the very quintessence of Hollywood and celebrity.
The most dramatic of Alex’s installation is the transformation of the staircase where a fragmented sky backdrop mural bursts. Enthuses Salatino, “It is an Aha! moment – with drama and theatricality in a way that is not intrusive but complementary. It’s stunningly beautiful and it looks like it’s been there forever. It’s deliberately titled backdrop because it is a backdrop for films. It serves as one for every visitor as if each were an actor in a film.”
During the holiday season The Huntington’s Christmas tree stood in this area, which Alex decorated with his self-portrait in miniature. It isn’t an ego-trip but a celebration of celebrity.
Alex likens today’s selfies to the Grand Manor portraits of the early 19th century. His Dodger blue-jacketed selfie isn’t meant to be tongue-in-cheek – rather, it is his homage to The Blue Boy. Hopefully, art enthusiasts appreciate it as such.
A San Gabriel Valley Inquirer 