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[caption id="attachment_8410" align="aligncenter" width="341"] HEDQUIST Valerie, Class, Gender, and Sexuality in Thomas Gainsborough’s Blue Boy, New York, Routledge, 2019, 202 p.[/caption]Présentation de l'éditeur :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.Valerie Hedquist is Professor of Art History at the University of Montana.Table des matièresList of FiguresList of PlatesAcknowledgmentsIntroduction1  Private Beginnings, Public Performances2  The Blue Boy from Gainsborough’s Showroom to Grosvenor’s Picture Gallery3  Public Recognition4  Reproducing The Blue Boy5  Farewell to England6  Welcome to America7  Changing Roles for The Blue BoyConclusionPlus d’informations sur le site de l’éditeur.&#160;