Description
George Bellows created this work during July 1915 in Ogunquit, Maine. Because of frequent rainy weather, the artist tended to paint indoors, focusing on portraiture. The identity of the sitter in this example remains unknown.
Provenance
Newman Emerson Montross [1849–1932], New York, NY; [American Galleries, New York, NY, February 8, 1923, lot 50]; [Ferargil Galleries, New York, NY, through purchase]; Josephine Pettengill Everett [1866–1937], Cleveland, OH; The Cleveland Museum of Art, Cleveland, OH, through bequest in 1938
Accession Number
1938.45
Medium
oil on canvas
Dimensions
Unframed: 91.5 x 61 cm (36 x 24 in.)
Classification
Painting
Credit Line
Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection
Tags
Color: Blue
Background & Context
Background Story
George Bellows's "Boy in a Blue Coat" (1915) is an oil on canvas portrait that reveals a more intimate and tender side of the artist known primarily for his dynamic boxing scenes and urban street life. The portrait depicts a young boy—possibly Bellows's own son or a family friend—dressed in a blue coat, seated against a dark background. Bellows (1882–1925) was primarily a figure painter, and his portraits have a directness and psychological immediacy that distinguishes them from the more polished society portraiture of his contemporaries. The brushwork is characteristic of Bellows's mature style: bold, vigorous strokes that build form through color and texture rather than smooth blending. The boy's face is rendered with particular sensitivity—the soft modeling of the cheeks, the direct gaze of the eyes—suggesting Bellows's ability to adapt his forceful painterly approach to the more delicate subject of childhood. This painting dates from the middle of Bellows's career, when he was at the height of his reputation following his acclaimed 1913 Armory Show participation and his series of monumental paintings of New York.
Cultural Impact
Bellows's portraits of children demonstrate the range of his artistic sympathies, showing that the artist of urban violence could also capture the vulnerability and dignity of childhood with remarkable sensitivity.
Why It Matters
This portrait reveals a quieter Bellows, demonstrating that his vigorous painterly style was capable of intimate psychological nuance and tender observation when the subject demanded it.