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...uningratiating realism of his portraits of Boston's notables--not just the prosperous Tories but dissenters like Samuel Adams and Paul Revere--was more like some French neoclassical painting than like English portraiture of the time. His clients liked Copley in part because everything in his work, from a nailhead in a chair to the exact gleam on red mahogany, was earnestly weighed and measured. In his candor and curiosity, he refused to edit out the warts and wens, the pinched New England lips or even (as several portraits show) the pockmarks that were a common disfigurement...

Author: /time Magazine | Title: MAKING IT STRAIGHT | 5/21/1997 | See Source »

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