John Singleton Copley /ˈkɑːpli/ RA (1738[1] – September 9, 1815) was an Anglo-American painter, active in both colonial America and England. He was probably born in Boston, Massachusetts, to Richard and Mary Singleton Copley, both Anglo-Irish. After becoming well-established as a portrait painter of the wealthy in colonial New England,[2][3] he moved to London in 1774, never returning to America. In London, he met considerable success as a portraitist for the next two decades, and also painted a number of large history paintings, which were innovative in their readiness to depict modern subjects and modern dress. His later years were less successful, and he died heavily in debt. Early life Copley's mother owned a tobacco shop on Long Wharf.[4] The parents, who, according to the artist's granddaughter Martha Babcock Amory, had come to Boston in 1736, were "engaged in trade, like almost all the inhabitants of the North American colonies at that time".[5] His father was from Limerick; his mother, of the Singletons of County Clare, a family of Lancashire origin. Letters from John Singleton, Mrs. Copley's father, are in the Copley-Pelham collection. Richard Copley, described as a tobacconist, is said by several biographers to have arrived in Boston in ill health and to have gone, about the time of John's birth, to the West Indies, where he died. William H. Whitmore gives his death as of 1748,[6] the year of Mrs. Copley's remarriage. James Bernard Cullen says: "Richard Copley was in poor health on his arrival in America and went to the West Indies to improve his failing strength. He died there in 1737."[7] No contemporary evidence has been located for either year. Portrait of the Copley family (1776) Except for a family tradition that speaks of his precocity in drawing, nothing is known of Copley's schooling or of the other activities of his boyhood. His letters, the earliest of which is dated September 30, 1762, reveal a fairly well-educated man. He may have been taught various subjects, it is reasonably conjectured, by his future stepfather, who, besides painting portraits and cutting engravings, eked out a living in Boston by teaching dancing and, beginning September 12, 1743, by conducting an "Evening Writing and Arithmetic School", duly advertised. It is certain that the widow Copley was married to Peter Pelham on May 22, 1748, and that at about that time she transferred her tobacco business to his house in Lindall Street (a quieter, more respectable part of town), at which the evening school also continued its sessions. In such a household young Copley may have learned to use the paintbrush and the engraver's tools. Whitmore says plausibly: "Copley at the age of fifteen was able to engrave in mezzotint; his stepfather Pelham, with whom he lived three years, was an excellent engraver and skillful also with the brush."[8] The family lived next to the house occupied by japanner Thomas Johnston and his family, and Copley became friends with Thomas's son William, later to become a painter himself.[9] The artistic opportunities of the home and town in which Copley grew to manhood should be emphasized because he himself, as well as some of his biographers taking him too literally, have made much of the bleakness of his early surroundings. His son, Lord Lyndhurst, wrote that "he (Copley) was entirely self taught, and never saw a decent picture, with the exception of his own, until he was nearly thirty years of age."[10] Copley himself complained, in a letter to Benjamin West, written November 12, 1766: "In this Country as You rightly observe there is no examples of Art, except what is to [be] met with in a few prints indifferently exicuted, from which it is not possable to learn much."[11] Variants of this thesis are found almost everywhere in his earlier letters. They suggest that, while Copley was industrious and an able executant, he was physically unadventurous and temperamentally inclined toward brooding and self-pity. He could have seen at least a few good paintings and many good prints in the Boston of his youth. The excellence of his own portraits was not accidental or miraculous; it had an academic foundation. A book of Copley's studies of the figure, now at the British Museum, proves that before he was twenty, whether with or without help from a teacher, he was making anatomical drawings with much care and precision. It is likely that through the fortunate associations of a home and workshop in a town which had many craftsmen, he had already learned his trade at an age when the average art student of a later era was only beginning to draw.[12] Rising reputation Mars, Venus and Vulcan (1754) (Kalamazoo Institute of Arts) Copley was about fourteen and his stepfather had recently died, when he made the earliest of his portraits now preserved, a likeness of his half-brother Charles Pelham, good in color and characterization though it has in its background accessories which are somewhat out of drawing. It is a remarkable work to have come from so young a hand. The artist was only fifteen when (it is believed) he painted the portrait of the Rev. William Welsteed, minister of the Brick Church in Long Lane, a work which, following Peter Pelham's practise, Copley personally engraved to get the benefit from the sale of prints. No other engraving has been attributed to Copley. A self-portrait, undated, depicting a boy of about seventeen in broken straw hat, and a painting of Mars, Venus and Vulcan, signed and dated 1754, disclose crudities of execution which do not obscure the decorative intent and documentary value of the works. Such painting would obviously advertise itself anywhere. Without going after business, for his letters do not indicate that he was ever aggressive or pushy, Copley was started as a professional portrait-painter long before he was of age. In October 1757, Capt. Thomas Ainslie, collector of the Port of Quebec, acknowledged from Halifax the receipt of his portrait, which "gives me great Satisfaction",[13] and advised the artist to visit Nova Scotia "where there are several people who would be glad to employ You." This request to paint in Canada was later repeated from Quebec, Copley replying: "I should receive a singular pleasure in excepting, if my Business was anyways slack, but it is so far otherwise that I have a large Room full of Pictures unfinished, which would ingage me these twelve months if I did not begin any others."[14] Statue of Copley in Copley Square, Boston, Massachusetts. Besides painting portraits in oil, doubtless after a formula learned from Peter Pelham, Copley was a pioneer American pastellist. He wrote, on September 30, 1762, to the Swiss painter Jean-Étienne Liotard, asking him for "a sett of the best Swiss Crayons for drawing of Portraits." The young American anticipated Liotard's surprise "that so remote a corner of the Globe as New England should have any demand for the necessary eutensils for practiceing the fine Arts" by assuring him that "America which has been the seat of war and desolation, I would fain hope will one Day become the School of fine Arts."[15] The requested pastels were duly received and used by Copley in making many portraits in a medium suited to his talent. By this time he had begun to demonstrate his genius for rendering surface textures and capturing emotional immediacy.[12] The Boy with the Squirrel (Henry Pelham) (1765) Copley's fame was established in England by the exhibition, in 1766,[16] of A Boy with a Squirrel, which depicted his half-brother, Henry Pelham, seated at a table and playing with a pet squirrel. This picture, which made the young Boston painter a Fellow of the Society of Artists of Great Britain, by vote of September 3, 1766, had been painted the preceding year. Copley's letter of September 3, 1765, to Capt. R. G. Bruce, of the John and Sukey, reveals that it was taken to England as a personal favor in the luggage of Roger Hale, surveyor of the port of London. An anecdote relates that the painting, unaccompanied by name or letter of instructions, was delivered to Benjamin West (whom Mrs. Amory describes as then "a member of the Royal Academy," though the Academy was not yet in existence). West is said to have "exclaimed with a warmth and enthusiasm of which those who knew him best could scarcely believe him capable, 'What delicious coloring worthy of Titian himself!'" The American squirrel, it is said, disclosed the colonial origin of the picture to the Pennsylvania-born Quaker artist. A letter from Copley was subsequently delivered to him. West got the canvas into the Exhibition of the year and wrote, on August 4, 1766, a letter to Copley in which he referred to Sir Joshua Reynolds's interest in the work and advised the artist to follow his example by making "a viset to Europe for this porpase (of self-improvement) for three or four years."[12] The Fountaine Family (1776) Thomas Gage (1768) Myles Cooper (1768) West's subsequent letters were considerably responsible for making Copley discontented with his situation and prospects in a colonial town. Copley in his letters to West of October 13 and November 12, 1766 gleefully accepted the invitation to send other pictures to the Exhibition and mournfully referred to himself as "peculiarly unlucky in Liveing in a place into which there has not been one portrait brought that is worthy to be call'd a Picture within my memory." In a later letter to West, of June 17, 1768, he displayed a cautious person's reasons for not rashly giving up the good living which his art gave him. He wrote: "I should be glad to go to Europe, but cannot think of it without a very good prospect of doing as well there as I can here. You are sensable that 300 Guineas a Year, which is my present income, is a pretty living in America. ... And what ever my ambition may be to excel in our noble Art, I cannot think of doing it at the expence of not only my own happyness, but that of a tender Mother and a Young Brother whose dependence is intirely upon me".[17] West replied on September 20, 1768, saying that he had talked over Copley's prospects with other artists of London "and find that by their Candid approbation you have nothing to Hazard in Comeing to this Place."[12] The income which Copley earned by painting in the 1760s was extraordinary for his town and time. It had promoted the son of a needy tobacconist into the local aristocracy. The foremost personages of New England came to his painting-room as sitters. He married, on November 16, 1769,[18] Susanna Farnham Clarke, daughter of Richard and Elizabeth (Winslow) Clarke, the former being the very wealthy agent of the Honourable East India Company in Boston; the latter, a New England woman of Mayflower ancestry. The union was a happy one, and socially notable. Mrs. Copley was a beautiful woman of poise and serenity whose features are familiar through several of her husband's paintings. Copley had already bought land on the west side of Beacon Hill extending down to the Charles River.[19] The newly married Copleys, who would have six children, moved into "a solitary house in Boston, on Beacon Hill, chosen with his keen perception of picturesque beauty".[20] It was approximately on the site of the present Boston Women's City Club. Here were painted the portraits of dignitaries of state and church, graceful women and charming children, in the mode of faithful and painstaking verisimilitude which Copley had made his own. The family's style of living at this period was that of people of wealth. John Trumbull told Dunlap that in 1771, being then a student at Harvard College, he called on Copley, who "was dressed on the occasion in a suit of crimson velvet with gold buttons, and the elegance displayed by Copley in his style of living, added to his high repute as an artist, made a permanent impression on Trumbull in favor of the life of a painter."[21] Portrait of Richard Heber (1782) In town and church affairs Copley took almost no part. He referred to himself as "desireous of avoideing every imputation of party spirit. Political contests being neighther pleasing to an artist or advantageous to the Art itself."[22] His name appeared on January 29, 1771, on a petition of freeholders and inhabitants to have the powder house removed from the town whose existence it imperiled. Records of the Church in Brattle Square disclose that in 1772 Copley was asked to submit plans for a rebuilt meeting-house, and that he proposed an ambitious plan and elevation "which was much admired for its Elegance and Grandure," but which on account of probable expensiveness was not accepted by the society. Copley's sympathy with the politicians who were working toward American independence appears to have been genuine but not so vigorous as to lead him to participate in any of their plans.[12] It was known to earlier biographers[23] that Copley at one time painted portraits in New York City. The circumstances of this visit, which was supplemented by a few days in Philadelphia, were first disclosed through Prof. Guernsey Jones's discovery of many previously unpublished Copley and Pelham documents in the Public Record Office, London. From these letters and papers, published by the Massachusetts Historical Society in 1914, it appears that in 1768 Copley painted in Boston a portrait of Myles Cooper, president of King's College, who then urged his visiting New York. Accepting the invitation later, Copley, between June 1771 and January 1772, painted thirty-seven portraits in New York, setting up his easel "in Broadway, on the west side, in a house which was burned in the great conflagration on the night the British army entered the city as enemies."[24] Copley's letters to Henry Pelham, whom he left in charge of his affairs in Boston, describe minutely the journey across New England, his first impressions of New York, which "has more Grand Buildings than Boston, the streets much cleaner and some much broader," and the successful search for suitable lodgings and a painting-room; thereafter they give detailed accounts of sitters and social happenings. The correspondence also contains Copley's careful instructions to Pelham concerning the features of a new house then being built on his Beacon Hill "farm," giving elevations and specifications of the addition of "peazas" which the artist saw for the first time in New York. Copley at the time had a lawsuit respecting title to some of his lands. His letters reveal a man who allowed such disputes to worry him considerably.[12] The Defeat of the Floating Batteries at Gibraltar, September 1782 (c. 1783) is one of Britain's largest oil paintings; it depicts the defeat of the floating batteries at Gibraltar during the Great Siege of Gibraltar. The Governor of Gibraltar, General George Augustus Eliott, is on horseback pointing to the rescue of the defeated Spanish sailors by the British. In September 1771, Mr. and Mrs. Copley visited Philadelphia, where, at the home of Chief Justice William Allen, they "saw a fine Coppy of the Titian Venus and Holy Family at whole length as large as life from Coregio".[25] On their return journey they viewed at New Brunswick, New Jersey several pictures attributed to van Dyck. "The date is 1628 on one of them," wrote Copley; "it is without dout I think Vandyck did them before he came to England." Back in New York Copley wrote, on October 17, requesting that a certain black dress of Mrs. Copley's be sent over at once. "As we are much in company," he said, "we think it necessary Sukey [his wife] should have it, as her other Cloaths are mostly improper for her to wear".[26] On December 15 Copley informed Pelham that "this Week finishes all my Business, no less than 37 Busts; so the weather permitting by Christmas we hope to be on the road." Thus ended Copley's only American tour away from Boston. Accounts of his having painted in the South are without foundation. Most of the Southern portraits that have been popularly attributed to him were made by Henry Benbridge.[12] His correspondents in England continued to urge Copley to undertake European studies. He saved an undated and unsigned letter from some one who wrote: "Our people here are enrapture'd with him, he is compared to Vandyck, Reubens and all the great painters of Old." His brother-in-law Jonathan Clarke, already in London, advised his "comeing this way." West wrote, on January 6, 1773: "My Advice is, Mrs. Copley to remain in Boston till you have made this Tour [to Italy], After which, if you fix your place of reasidanc in London, Mrs. Copley to come over."[12] Political and economic conditions in Boston were increasingly turbulent. Copley's father-in-law, Mr. Clarke, was the merchant to whom was consigned the tea that provoked the Boston Tea Party. Copley's family connections were all Loyalists. He defended his wife's relatives at a meeting described in his letter of December 1, 1773. He wrote on April 26, 1774, of an unpleasant experience when a mob visited his house demanding the person of Col. George Watson, a Loyalist mandamus counselor who had gone elsewhere. The patriots having threatened to have his blood if he "entertained any such Villain for the future," Copley exclaimed: "What a spirit! What if Mr. Watson had stayed (as I pressed him to) to spend the night. I must either have given up a friend to the insult of a Mob or had my house pulled down and perhaps my family murthered."[27]