A Boy with a Flying Squirrel (Henry Pelham), 1765, 77.15 x 63.82 cm / 30-3/8 x 25-1/8 inches (Museum of Fine Arts, Boston).
COLONIAL PERIOD
COLONIAL PERIOD
The portrait was sent to London for the 1766 exhibition of the Society of Artists. Copley received feedback from his contemporary expatriate Benjamin West and Sir Joshua Reynolds, perhaps the most authoritative voices on British art at the time. Captain R.G. Bruce, Copley’s friend, took Boy with a Squirrel to London and returned with Reynolds’s assessment: “in any Collection of Painting it will pass for an excellent Picture, but considering the Disadvantages…you had labored under, that it was a very wonderfull Performance.” The "disadvantages" to which Reynolds refers to are likely those that involve Copley’s location (Boston, the very fringe of the British empire) and his opportunity for formal artistic instruction there (none).
West agreed when he wrote to Copley on 4 August 1766. In his particular brand of creative spelling, West wrote, “while it was Excibited to View the Criticizems was, that at first Sight the Pictures struck the Eye as being to liney, which was judgd to have arose from there being so much neetness in the lines, which indeed as fare as I was Capable of judgeing was some what the Case.”
Although somewhat critical of Copley’s work, West was clearly impressed, and encouraged his colonial counterpart to send a composition to the Society of Artist’s April 1767 exhibition. “I advise you to Paint a Picture of a half figure or two in one Piec, of a Boy and Girle, or any other subject you may fancy,” West wrote. “And be shure take your subjects from Nature as you did in your last Piec…let it be Painted in oil.” West ended his letter by informing Copley that a three or four year visit to Europe studying the Old Masters would greatly improve his skill. In closing, West, ever the giving teacher, offered his mentorship, something for which his fame still rests today: “if ever you should make a viset to Europe you may depend on my friendship in eny way thats in my Power to Sarve.”
West agreed when he wrote to Copley on 4 August 1766. In his particular brand of creative spelling, West wrote, “while it was Excibited to View the Criticizems was, that at first Sight the Pictures struck the Eye as being to liney, which was judgd to have arose from there being so much neetness in the lines, which indeed as fare as I was Capable of judgeing was some what the Case.”
Although somewhat critical of Copley’s work, West was clearly impressed, and encouraged his colonial counterpart to send a composition to the Society of Artist’s April 1767 exhibition. “I advise you to Paint a Picture of a half figure or two in one Piec, of a Boy and Girle, or any other subject you may fancy,” West wrote. “And be shure take your subjects from Nature as you did in your last Piec…let it be Painted in oil.” West ended his letter by informing Copley that a three or four year visit to Europe studying the Old Masters would greatly improve his skill. In closing, West, ever the giving teacher, offered his mentorship, something for which his fame still rests today: “if ever you should make a viset to Europe you may depend on my friendship in eny way thats in my Power to Sarve.”
FYI, the hierarchy of painting subject matter may vary source to source. Usually portraiture is higher on the list (vs. lower, as stated in this video and others in this series):
1. History painting (istoria)
2. Portrait painting
3. Genre painting or scenes of everyday life (of sufficient decorum)
4. Landscape and cityscape
5. Animal painting
6. Still life
1. History painting (istoria)
2. Portrait painting
3. Genre painting or scenes of everyday life (of sufficient decorum)
4. Landscape and cityscape
5. Animal painting
6. Still life
After sketching, reading, watching, and writing:
- What are your thoughts?
- What did you learn?
- What connections can be made to what you know, what you've done/been doing in class (art or others)?
- Why is this artist important?
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