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Date: Sat, 21 Oct 2023 11:26:46 +0200
From: "CVS Visit Feedback" <CVSVisitFeedback@hiloinasal.email>
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Subject:  ***SPAM***  Don't miss out! You've got only one more day to grab this amazing deal!

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Don't miss out! You've got only one more day to grab this amazing deal!

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65, John Singleton Copley established himself as the foremost portrait painter of Boston's mercantile elite. Though he was familiar with European art, Copley had not yet ventured outside New England and was largely self-taught. He was at the time primarily a portraitist, but he desired to become a European-style history painter. To test whether his art met English standards, Copley completed A Boy with a Flying Squirrel by early fall 1765, which was to be viewed by a London audience. Chained squirrels held by women and children were common in colonial American portraits. In these works, the successful domestication of a squirrel indicated the owner's refinement and education, as the training process was meant to "civilize" both the squirrel and the owner. Besides A Boy with a Flying Squirrel, Copley produced two


other squirrel paintings in 1765: Mrs. Theodore Atkinson and Boy with a Squirrel, John Bee Holmes. Copley's 1771 portrait of Daniel Crommelin Verplanck also featured a squirrel. According to the American critic Henry Theodore Tuckerman, Copley reportedly was "intimately acquainted" with the flying squirrel's natural history and had several pet flying squirrels of his own. A Boy with a Flying Squirrel's subject, Henry Pelham, was Copley's half-brother. Pelham was born in 1749, the son of Copley's widowed mother, who married Peter Pelham in 1748. Under Copley's tutelage, Pelham became a painter and engraver, as well as Copley's official business manager and assistant. Copley and Pelham held a close and affectionate relationship, as evidenced by a volume of correspo

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<div style="color:#ffffff;width:600px;">65, John Singleton Copley established himself as the foremost portrait painter of Boston&#39;s mercantile elite. Though he was familiar with European art, Copley had not yet ventured outside New England and was largely self-taught. He was at the time primarily a portraitist, but he desired to become a European-style history painter. To test whether his art met English standards, Copley completed A Boy with a Flying Squirrel by early fall 1765, which was to be viewed by a London audience. Chained squirrels held by women and children were common in colonial American portraits. In these works, the successful domestication of a squirrel indicated the owner&#39;s refinement and education, as the training process was meant to &quot;civilize&quot; both the squirrel and the owner. Besides A Boy with a Flying Squirrel, Copley produced two</div>
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other squirrel paintings in 1765: Mrs. Theodore Atkinson and Boy with a Squirrel, John Bee Holmes. Copley&#39;s 1771 portrait of Daniel Crommelin Verplanck also featured a squirrel. According to the American critic Henry Theodore Tuckerman, Copley reportedly was &quot;intimately acquainted&quot; with the flying squirrel&#39;s natural history and had several pet flying squirrels of his own. A Boy with a Flying Squirrel&#39;s subject, Henry Pelham, was Copley&#39;s half-brother. Pelham was born in 1749, the son of Copley&#39;s widowed mother, who married Peter Pelham in 1748. Under Copley&#39;s tutelage, Pelham became a painter and engraver, as well as Copley&#39;s official business manager and assistant. Copley and Pelham held a close and affectionate relationship, as evidenced by a volume of correspo</div>
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