000			04235cam a2200577Ki 4500
001			9781351006866
003			FlBoTFG
005			20220509193117.0
006			m o d
007			cr cnu---unuuu
008			190711s2019 enk ob 001 0 eng d
040			_aOCoLC-P _beng _erda _epn _cOCoLC-P
020			_a9781351006866 _q(electronic bk.)
020			_a135100686X _q(electronic bk.)
020			_a1351006843 _q(electronic bk. : EPUB)
020			_a9781351006835 _q(electronic bk. : Mobipocket)
020			_a1351006835 _q(electronic bk. : Mobipocket)
020			_a9781351006859 _q(electronic bk. : PDF)
020			_a1351006851 _q(electronic bk. : PDF)
020			_a9781351006842 _q(electronic bk.)
020			_z9781138543423
020			_z113854342X
024	8		_a10.4324/9781351006866 _2doi
035			_a(OCoLC)1107880861
035			_a(OCoLC-P)1107880861
050		4	_aND1329.G34 _bA63 2019eb
072		7	_aART _x015000 _2bisacsh
072		7	_aART _x015030 _2bisacsh
072		7	_aSOC _x032000 _2bisacsh
072		7	_aAB _2bicssc
082	0	4	_a759.42 _223
100	1		_aHedquist, Valerie, _eauthor.
245	1	0	_aClass, gender, and sexuality in Thomas Gainsborough's Blue boy / _cValerie Hedquist.
264		1	_aLondon ; _aNew York : _bRoutledge, _c2019.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	1		_aRoutledge Research in Gender and Art
520	8		_aThe 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.
505	0		_aCover; Half-Title; Series; Title; Copyright; Contents; List of figures; List of plates; Acknowledgements; Introduction; 1 Private Beginnings, Public Performances; A Spa Setting for The Blue Boy; Gainsborough in Bath; The Blue Boy and Van Dyck; The Shared Stuart Past; Public Display at the Royal Academy; The Blue Boy in the Artist's Showroom; Notes; 2 The Blue Boy from Gainsborough's Showroom to Grosvenor's Picture Gallery; The Blue Boy's Fame and Rivalry; An American Blue Boy; The Blue Boy's Fame and Jonathan Buttall; The Blue Boy's Fame and the Grosvenor Family in Mayfair; Notes
505	8		_a3 Public RecognitionThe Blue Boy in Early Publications; The Blue Boy in Manchester; The Blue Boy Exhibited; The Great London Exposition, 1862; Royal Academy, London, 1870; South Kensington Museum, London, 1870; Grosvenor Gallery, London, 1885; Royal Academy, London, 1896; The Blue Boy Examined and Rivalry Reconsidered; Notes; 4 Reproducing The Blue Boy; An Alternative Blue Boy; The Blue Boy in Prints and Popular Objects; Living Reproductions Perform The Blue Boy; Notes; Plates; 5 Farewell to England; The Final Years in Mayfair; The Sale of The Blue Boy; Goodbye to Britain; Notes
505	8		_a6 Welcome to AmericaThe Blue Boy on the West Coast; The Blue Boy on Screen and Stage; Notes; 7 Changing Roles for The Blue Boy; The Blue Boy Captivates America; From Manliness to Swish; The Blue Boy in the Comics; Re-appropriating The Blue Boy; Gay Blue Boy; Notes; Conclusion; Bibliography; Index
588			_aOCLC-licensed vendor bibliographic record.
600	1	0	_aGainsborough, Thomas, _d1727-1788. _tBlue boy.
600	1	0	_aGainsborough, Thomas, _d1727-1788 _xCriticism and interpretation.
650		7	_aART / History / General _2bisacsh
650		7	_aART / European _2bisacsh
650		7	_aSOCIAL SCIENCE / Gender Studies _2bisacsh
856	4	0	_3Taylor & Francis _uhttps://www.taylorfrancis.com/books/9781351006866
856	4	2	_3OCLC metadata license agreement _uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
999			_c130070 _d130070