It is remarkable when one stops
to consider how real a thing is the personality
of the Dutch Boy Painter. He is more than a
merely skilful application of pigment on canvas.
To millions he is a living character, quite as
real as statesmen of whom they have read but
To one gazing at his
heart-warming smile there comes the feeling that
he could be none other than the exponent of
beauty and purity and permanence. He inspires a
certain confidence in his wares which once
justified increases many fold. He is welcome
wherever he has served and there is never need
to introduce himself where he hasn't.
Such is the power of the
established trade-mark when linked with a
product of merit. The Dutch Boy Painter was the
creation of the advertising manager of National
Lead Company who gave specifications of his idea
to a Dutch artist named Yook for the first
preliminary sketches. The boy was intended at
first only as an advertising character but
later, when search began for a suitable national
trademark, the late L. A. Cole, then president,
suggested that the Dutch Boy Painter be adopted.
This was done and one of Yook's pencil sketches
was turned over to Lawrence Carmichael Earle,
the noted portrait painter, with orders to
embody the idea in an oil painting which would
give the boy the breath of life. Earle was at
that time living in Montclair, N. J., and it is
an interesting fact that he executed his
commission in the studio of the late George
Inness, one of the greatest, if not the
greatest, of American landscape painters. That
was fifteen years ago.
On this page is a portrait of
Mr. Earle, whose first-hand knowledge of Dutch
folk enabled him to visualize his subject so
exquisitely. Born in New York in 1845, he
studied in Munich, Florence and Rome. After 1869
he painted steadily and before his death last
year completed some notable canvases, but none
we feel sure is more widely known and admired
than the Dutch Boy Painter.
This month's cover of The Dutch
Boy Painter magazine is a reproduction of Mr.
Earle's canvas, photographed as it hangs in the
board-of-directors' room of National Lead