- Gallery Text
In 1783, the City of London commissioned Copley to create a large public painting commemorating Britain’s victory over the French and Spanish navies at the Siege of Gibraltar in 1782. These portraits were preparatory studies for that painting. Committed to a new kind of history painting that would be grounded in factual and visual accuracy, Copley hoped to incorporate life portraits of soldiers who had participated in the battle. In the summer of 1787, he traveled to Germany to paint De La Motte (1942.179), von Hugo, and von Schlepegrell (1942.180), German officers who had helped the British to defend Gibraltar. Among the liveliest and most engaging works in Copley’s oeuvre, these portraits are both character studies and experiments in composition, as the extensive underdrawing around each figure suggests.
- Identification and Creation
Level 2, Room 2240, European and American Art, 17th–19th century, The Arts in the Eighteenth–Century Atlantic World
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- Physical Descriptions
- Oil on canvas
- 64.8 x 54.6 cm (25 1/2 x 21 1/2 in.)
framed: 86.7 x 76.8 x 7.9 cm (34 1/8 x 30 1/4 x 3 1/8 in.)
- To artist’s son Lord Lyndhurst; sold [through his estate sale, March 5, 1864]; to Clarke. Mrs. Charles (Martha Babcock) Amory; to her daughter Mrs. F. Gordon Dexter (Susan Greene Amory), by 1915; to her son Gordon Dexter; to his wife Mrs. Gordon Dexter, gift; to the Fogg Art Museum, 1942.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Fogg Museum, Gift of Mrs. Gordon Dexter
- Accession Year
- Object Number
- European and American Art
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- Publication History
Ernst von dem Knesebeck, Geschichte der churhannoverschen Truppen in Gibraltar, Minorca und Ostindien, Im Verlage der Helwingschen Hof-Buchhandlung (Hannover, Germany, 1845), p. 89
Henry T. Tuckerman, Book of the Artists: American Artist Life, Comprising Biographical and Critical Sketches of American Artists, Preceded by an Historical Account of the Rise and Progress of Art in America, Putnam (New York, NY, 1867), p. 79
Augustus Thorndyke Perkins, A Sketch of the Life and a List of Some of the Works of John Singleton Copley, J. R. Osgood & Company (Boston, MA, 1873), p. 132
K. E. A. von Hugo, Geschichte der im Fürstentum Calenberg begürterten familie von Hugo (1873), p. 29
Martha Babcock Amory, The Domestic and Artistic Life of John Singleton Copley, R.A., Houghton Mifflin Company (Boston, MA, 1882), pp. 93-94
Frank William Bayley, The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins, The Taylor Press (Boston, MA, 1915), pp. 34, 36, 151, 225
Theodore Bolton and Henry Lorin Binsse, "John Singleton Copley", The Antiquarian (New York, NY, December 1930), pp. 116-118., p. 83
"Gifts", Bulletin of the Fogg Art Museum, Fogg Art Museum (Cambridge, MA, November 1942), vol. X, no. 1, p. 3
The catalogue of Old and New England; an exhibition of American painting of colonial and early republican days, together with English painting of the same time, exh. cat., Rhode Island School of Design Museum of Art (Providence, RI, 1945), p. 51, cat. 21, ill.
James Thomas Flexner, John Singleton Copley, Houghton Mifflin Company (Boston, 1948), pp. 96, 129, pl. 31
L'Art dans les Collections Universitaires Américaines, exh. cat., Palais des Beaux-Arts, Brussels (Brussels, Belgium, 1956), no. 13
University Collections, exh. cat., College Art Association of America (New York, 1956), p. 19, no. 13, ill.
Oeuvres d'art des musées universitaires Americains: peintures, sculptures anciennes et modernes, exh. cat., Musée des Beaux-Arts de Rouen (Lyon, France, 1957), no. 5, pl. 10, cover ill.
John Dos Passos, Prospects of a Golden Age, Prentice-Hall (New York, 1959), p. 46, ill.
John Singleton Copley, exh. cat., National Gallery of Art (Washington, D.C, 1965), pp. 111, 113, cat. 86, ill.
Jules David Prown, John Singleton Copley, Harvard University Press (Cambridge, MA, 1966), vol. 2, pp. 327, 329, 402, 423, pl. 498
Elizabeth Ripley, Copley: A Biography, J. B. Lippincott (Philadelphia, PA, 1967), pp. 62-63, ill.
Robert Myron and Abner Sundell, Art in America: from Colonial Days through the Nineteenth Century, Crowell-Collier Press (New York, NY, 1969), p. 47, ill.
William Dunlap, History of the Rise and Progress of the Arts of Design in the United States, Dover Publications Inc. (New York, 1969), vol. I, p. 106
Robert Plate, John Singleton Copley: America's First Great Artist, David McKay (New York, NY, 1969), pp. 135-136, ill. opp. p. 90
Kenyon Castle Bolton, III, Peter G. Huenink, Earl A. Powell III, Harry Z. Rand, and Nanette C. Sexton, American Art at Harvard, exh. cat., Fogg Art Museum (Cambridge, MA, 1972), cat. 10, ill.
James N. Carpenter, Color in Art: A Tribute to Arthur Pope, exh. cat., Fogg Art Museum (Cambridge, MA, 1974), pp. 83-84, cat. 42, ill.
Edgar P. Richardson, "Painting (1770-75)", The American Art Journal, Kennedy Galleries, Inc. (New York, NY, May 1975), vol 7, no. 1, pp. 23-33, p. 24, ill.
John Singleton Copley (1738-1815), Gilbert Stuart (1755-1828), Benjamin West (1738-1820) in America and England, Museum of Fine Arts, Boston (Boston, MA, 1976), pp. 16, 34-35, cat. 25, ill.
The Martial Face: The Military Portrait in Britain 1760-1900, exh. cat., Brown University and David Winton Bell Gallery (Providence, RI, 1991), p. 98, no. 16a
Emily Ballew Neff, ed., John Singleton Copley in England, exh. cat., The Museum of Fine Arts, Houston (Houston, TX, 1995), pp. 158-159, cat. 34, ill.
Emily Ballew Neff, "John Singleton Copley: The Artist as 'Realist' and London Impresario" (1997), University of Texas at Austin, p. 195
Kimberly Orcutt, Process and Paradox: The Historical Pictures of John Singleton Copley, exh. cat., Harvard University Art Museums (Cambridge, MA, 2004), pp. 6-7, ill., 12
Emily Ballew Neff and Kaylin H. Weber, American Adversaries: West and Copley in a Transatlantic World, exh. cat., The Museum of Fine Arts, Houston (Houston, TX, 2013), pp. 216-218, fig. 205
Theodore E. Stebbins, Jr. and Melissa Renn, American Paintings at Harvard, Volume One: Paintings, Watercolors, and Pastels by Artists Born before 1826, Yale University Press (U.S.) and Harvard Art Museums (Cambridge and New Haven, 2014), pp. 154-156, cat. 98, ill.
- Exhibition History
Old and New England, Rhode Island School of Design Museum, Providence, 01/19/1945 - 02/19/1945
University Collections, [Unknown venue, Malmo, Sweden], Malmo, 06/30/1956 - 07/15/1956; Centraal Museum Utrecht, Utrecht, 08/04/1956 - 09/08/1956; City Museum and Art Gallery, Birmingham, 09/18/1956 - 10/14/1956; Senate House, London, 10/22/1956 - 10/27/1956; Hatton Gallery, Newcastle, 11/05/1956 - 11/17/1956; Palais des Beaux-Arts, Brussels, Brussels, 12/08/1956 - 12/30/1956; Musée des Beaux-Arts de Liège, Liege, 01/12/1957 - 02/10/1957
John Singleton Copley, National Gallery of Art, Washington, 09/18/1965 - 10/31/1965; The Metropolitan Museum of Art, New York, 11/20/1965 - 01/02/1966; Museum of Fine Arts, Boston, Boston, 01/22/1966 - 03/06/1966
American Art at Harvard, Fogg Art Museum, Cambridge, 04/19/1972 - 06/18/1972
Color in Art: A Tribute to Arthur Pope, Fogg Art Museum, Cambridge, 04/25/1974 - 06/16/1974
Copley, Stuart and West in America and England, Museum of Fine Arts, Boston, Boston, 10/17/1976 - 11/07/1976
Master Paintings from the Fogg Collection, Fogg Art Museum, Cambridge, 04/13/1977 - 08/31/1977
The Martial Face: the Military Portrait in Britain 1760-1900, David Winton Bell Gallery, Providence, 01/26/1991 - 03/03/1991
John Singleton Copley in England, National Gallery of Art, Washington, 10/11/1995 - 01/07/1996; The Museum of Fine Arts, Houston, Houston, 02/04/1996 - 04/28/1996
Process and Paradox: The Historical Pictures of John Singleton Copley, Harvard University Art Museums, Fogg Art Museum, Cambridge, 05/08/2004 - 08/29/2004
32Q: 2240 18th Century, Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050
- Subjects and Contexts
Google Art Project
- Related Works
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