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The Copley Family dsf
Painting ID:: 6142
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The Copley Family dsf
c. 1776
Oil on canvas, 184,4 x 229,7 cm
National Gallery of Art, Washington
c._1776
Oil_on_canvas,_184,4_x_229,7_cm
National_Gallery_of_Art,_Washington
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Paul Revere dsf
Painting ID:: 6143
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Paul Revere dsf
1768-70
Oil on canvas, 87,5 x 71,5 cm
Museum of Fine Arts, Boston
1768-70
Oil_on_canvas,_87,5_x_71,5_cm
Museum_of_Fine_Arts,_Boston
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Self Portrait dfg
Painting ID:: 6144
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Self Portrait dfg
1784
Oil on canvas
National Portrait Gallery, Smithsonian Institution, Washington
1784
Oil_on_canvas
National_Portrait_Gallery,_Smithsonian_Institution,_Washington
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Brook Watson and the Shark sdf
Painting ID:: 6145
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Brook Watson and the Shark sdf
1778
Oil on canvas, 182 x 230 cm
National Gallery of Art, Washington
1778
Oil_on_canvas,_182_x_230_cm
National_Gallery_of_Art,_Washington
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Mrs John Winthrop dfg
Painting ID:: 6146
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Mrs John Winthrop dfg
1773
Oil on canvas, 90,2 x 73 cm
Metropolitan Museum of Art, New York
1773
Oil_on_canvas,_90,2_x_73_cm
Metropolitan_Museum_of_Art,_New_York
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COPLEY, John Singleton
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American Colonial Era Painter, 1738-1815
American portrait painter, b. Boston. Copley is considered the greatest of the American old masters. He studied with his stepfather, Peter Pelham, and undoubtedly frequented the studios of Smibert and Feke. At 20 he was already a successful portrait painter with a mature style remarkable for its brilliance, clarity, and forthright characterization. In 1766 his Boy with the Squirrel was exhibited in London and won the admiration of Benjamin West, who urged him to come to England. However, he remained in America for eight years longer and worked in New York City and Philadelphia as well as in Boston. In 1774 Copley visited Italy and then settled in London, where he spent the remainder of his life, enjoying many honors and the patronage of a distinguished clientele. In England his style gained in subtlety and polish but lost most of the vigor and individuality of his early work. He continued to paint portraits but enlarged his repertoire to include the enormous historical paintings that constituted the chief basis of his fame abroad. His large historical painting The Death of Lord Chatham (Tate Gall., London) gained him admittance to the Royal Academy. His rendering of a contemporary disaster, Brook Watson and the Shark (Mus. of Fine Arts, Boston), stands as a unique forerunner of romantic horror painting. Today Copley's reputation rests largely upon his early American portraits, which are treasured not only for their splendid pictorial qualities but also as the most powerful graphic record of their time and place. Portraits such as those of Nicholas Boylston and Mrs. Thomas Boylston (Harvard), Daniel Hubbard (Art Inst., Chicago), Governor Mifflin and Mrs. Mifflin (Historical Society of Pennsylvania, Philadelphia), and Paul Revere (Mus. of Fine Arts, Boston) are priceless documents in which the life of a whole society seems mirrored.
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