"THE BLUE BOY"

Evening Post, Volume CIII, Issue 55, 7 March 1922, Page 7

"THE BLUE BOY"

GAINSBOROUGH'S MASTERPIECE

PASSING TO AMERICA.

(moil OUR OWN COEMSrOINDINT,)

LONDON, 10th January/

'• For three weeks, 1 and only three weeks', Gainsborough's masterpiece, "The Blue Boy," which first appeared, at the Koyal Academy in 1770, is. on view in the. Natiotal Gallery. A continuous 'stream of Londoners is passing into the gallery to look their last on.their famous picture. While the Englishman knows that his historic treasures are safe within the Home country, he does not trouble overmuch to mark and study them; but when they pass to alien hands there is a.distinct, and widely-felt regret, Sir Joseph Duveen, the dealer, has bought this matchless artistic achievement from the Duke of Westminster, and'it is going the way of many of the Old World trqasures—going to the land of bottomless coffers across the Atlantic. /

Among all the great pictures of the room of the National Gallery, the satin of the Blue Boy's party dress makes the intensest spot of. gem-like colour, its sapphires; being echoed rather faintlier by the "Mrs. Siddons" (likewise of Gainsborough), which hangs next, but one to the Duke's relinquished treasure. The picture-has''been cleaned and varnished, '. and are not altogether pleased with ihe result. "At first sight," says one, "the impression was that it had been ovor-cleaned. The aloofness that was half its charm has disappeared with the old varnish. The figure now asserts itself, seems to have come out in front of the frame, and the illusion of height has gone. . The brilliant Vermeerlike c ,blue looks colder amid the warm tones of the neighbouring paintings, which include' Gainsborough's vstately portrait of 'Mrs. Siddons.-'- And this coldness is emphasised by the lowering of the grey hues of the sky and the obtrusiveness of its ruddier colouration. The question now is: Will the action of time on the new varnish bringthe picture into a tenderer, more harmonious relationship than at present exists? "■ We hope, even believe, that such a change will be effected. In the meantime we are better able x to appreciate the defiant challenge of Gainsborough, and realise the wondermont aroused by 'The Blue Boy' when it appeared at the Royal Academy in 1770. As a technical achievement the picture is superb. It gave the artist very considerable" trouble. That is proved by the pentamenti not hitherto apparent in Qiir day. The hat was originally on the hoy's .head; it now hangs from, his right- hand, and the position and size of both feather and hat have been. changed after they were removed to their present place. The painting of the' drees, embroidered with silver, is remarkably beautiful. 'Note./the exquisite rendering of the lace collar ornamented with jewels, and you will understand what is meant by the 'defiant challenge' conveyed by this masterpiece." There is something pathetic, something mournful, about'this endless' stream of English folk looking tljeir last on the treasure they cannot afford to buy.