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El. knyga: Class, Gender, and Sexuality in Thomas Gainsborough's Blue Boy

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(University of Montana)
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The reception of Thomas Gainsborough’s Blue Boy from its origins to its appearances in contemporary visual culture reveals how its popularity was achieved and maintained by diverse audiences and in varied venues. Performative manifestations resulted in contradictory characterizations of the painted youth as an aristocrat or a "regular fellow," as masculine or feminine, or as heterosexual or gay. In private and public spaces where viewers saw the actual painting and where living and rendered replicas circulated, Gainsborough’s painting was often the centerpiece where dominant and subordinate classes met, gender identities were enacted, and sexuality was implicitly or overtly expressed.

List of figures
vii
List of plates
ix
Acknowledgments x
Introduction 1(13)
1 Private Beginnings, Public Performances
14(19)
A Spa Setting for The Blue Boy
14(1)
Gainsborough in Bath
15(3)
The Blue Boy and Van Dyck
18(5)
The Shared Stuart Past
23(3)
Public Display at the Royal Academy
26(2)
The Blue Boy in the Artist's Showroom
28(1)
Notes
29(4)
2 The Blue Boy from Gainsborough's Showroom to Grosvenor's Picture Gallery
33(26)
The Blue Boy's Fame and Rivalry
33(4)
An American Blue Boy
37(2)
The Blue Boy's Fame and Jonathan Buttall
39(3)
The Blue Boy's Fame and the Grosvenor Family in May fair
42(11)
Notes
53(6)
3 Public Recognition
59(21)
The Blue Boy in Early Publications
59(2)
The Blue Boy in Manchester
61(6)
The Blue Boy Exhibited
67(1)
The Great London Exposition, 1862
67(1)
Royal Academy, London, 1870
68(1)
South Kensington Museum, London, 1870
69(1)
Grosvenor Gallery, London, 1885
70(1)
Royal Academy, London, 1896
71(1)
The Blue Boy Examined and Rivalry Reconsidered
71(4)
Notes
75(5)
4 Reproducing The Blue Boy
80(22)
An Alternative Blue Boy
80(4)
The Blue Boy in Prints and Popular Objects
84(4)
Living Reproductions Perform The Blue Boy
88(9)
Notes
97(5)
5 Farewell to England
102(19)
The Final Years in May fair
102(3)
The Sale of The Blue Boy
105(5)
Goodbye to Britain
110(7)
Notes
117(4)
6 Welcome to America
121(20)
The Blue Boy on the West Coast
121(7)
The Blue Boy on Screen and Stage
128(9)
Notes
137(4)
7 Changing Roles for The Blue Boy
141(28)
The Blue Boy Captivates America
141(4)
From Manliness to Swish
145(3)
The Blue Boy in the Comics
148(6)
Re-appropriating The Blue Boy
154(7)
Gay Blue Boy
161(2)
Notes
163(6)
Conclusion 169(2)
Bibliography 171(22)
Index 193
Valerie Hedquist is Professor of Art History at the University of Montana, USA.
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