Page:Bryan's dictionary of painters and engravers, volume 1.djvu/498

 a large number of examples of their handiwork submitted to his judgment. Inhia days of prosperity lie settled near his native town, to which he became a constant benefactor, presenting it in 1882 with the 'Sidney Cooper Art Gallery,' erected on the site of the house in which he was born. 'A Summer's Noon' (1836), 'A Group in the Meadows' (1845), 'Tlie Shepherd's Sabbath' (1866), 'The Monarch of the Meadows' (1873), and 'Separated, but not Divorced' (1874), are a few of his most important pictures. M. B.

COOPSE, PiETER, (or Coops,) a Dutch painter of marine subjects and landscapes, in the manner of Bakhuisen and Van de Velde, flourished about the year 1672. His pictures are generally of a small size, well composed, full of subject, and vigorously painted. There is a picture by him in the Gallery at Munich, which is attributed to Bakhuisen in the catalogue, though the name may be discovered on it : in England the dealers are more cautious ; they remove it. Ploos van Amstel and others have given facsimiles of some of his drawings ; but it is only recently that his own countrymen have discovered his merit as a painter in oil.

COORNHAERT. See Coerenhert.

COORTE, A. S., who flourished in Holland about 1700, excelled as a painter of fruit and flowers. His works are rarely to be met with.

COOSEMANS, Alart, a painter of flowers, fruit, and inanimate subjects, flourished in the Nether- lands about 1630. Fruit subjects by him are in the Augsburg Gallery and the Belvedere at Vienna. In the Madrid Gallery there is a fruit-piece attributed to a J. D. COOSEMAN, who is said to have flourished in the Netherlands in the 17th century: and in the Bordeaux Museum, a fruit-piece ascribed to a N. COOSMAN.

COOTWYCK. See Kootwyck.

COPE, Charles West, R.A., the son of a painter in water-colours, was born at Leeds in 1811, and educated at the Grammar School of that town. He went to London in 1826, and after attending an art school in Bloomsbury under the superintendence of Mr. Sass, became a student at the Royal Academy in 1828. Leaving this in 1831 he went to Paris for six months, most of which was spent in copying pictures in the Louvre. Two years later, in 1833, his first exhibited picture, 'The Golden Age,' was accepted at the Acadeiny. Soon afterwards he went to Italy, and, dividing his time between Rome, Naples, Florence, and Venice, remained there two years, studying the works of the old masters, and producing pictures of his own, one of which, ' Mother and Child,' was exhibited at the British Institution in 1836, while others appeared at the Academy the same year. Taking part in the competition for the decoration of the Houses of Parliament, he won, in 1843, a prize of £300 for a cartoon of ' Trial by Jury,' and in the next year obtained a commission to paint a fresco of ' Edward III. investing the Black Prince with the Order of the Garter,' which was followed by a second of 'Prince Henry acknowledging the authority of Judge Gascoigne'and 'Griselda's first trial of Patience.' He was electel an Associate of the Royal Academy in 1843, and an Academician in 1848. In 1883 he retired, and died at Bourne- mouth on August 21, 1890. His work was essentially academical, and he confined himself to those sacred, historical, literary or domestic subjects which were the fashion of his early days. Of the first are ' Hagar and Ishmael' (1836), and ' The disciples at Emmaus ' (1868) ; of the second, ' Cardinal VVolsey arriving at Leicester Abbej- ' (1848), and ' The Pilgrim Fathers ' (1857) ; of the third, 'King Lear ' (1850), and 'Othello ' (1868) ; of the fourth and most popular, 'Beneficence' (1840), and 'Baby's turn' (1854). The former, with several other of his pictures, is in the Victoria and Albert Museum. M. B.

COPIA, Jacques Loms, a French engraver, was born at Landau in 1764 He went to Paris, and among other plates executed a charming little por- trait of Queen Marie Antoinette, after Piauger, which is very rare. He also engraved a head of Marat, terribly startling in its ghastliness, from a drawing made by David immediately after his assassination. But Copia is chiefly identified with Prud'hon, the voluptuous genius of whose works no one has more fully comprehended. It must, how- ever, be admitted that, apart from the great painter, Copia would have remained hidden in the crowd. His style was neither original nor brilliant, and his rare qualities of modelling and softness of execu- tion required works suitable for their display. He died in Paris in 1799, unfortunately too early to be able to engrave the greatest works of his friend. But among other pupils he left one, Roger, who caught his manner, and is thought by many to have surpassed his master in the interpretation of the spirit of Prud'hon.

The following arc the works of Prud'hon which have been engraved by Copia: The French Constitution. Equality, and Law ; two small bas-reliefs from the pre- ceding composition. Liberty. The Revenge of Ceres. Love brought to reason. Love laughing at the tears which he has caused to flow ; a companion to the preceding. En Jouir ; an illustration to Gentil-Bemard's * Art d' Aimer,' Didot's edition, 1797. The First Kiss of Love ; and four other illustrations to Kousseau's 'Nouvelle Hfiloise,' Bossange's edition, 1808. R. E. G.

COPLEY, John Singleton, was born of English and Irish parentage at Boston in Massachusetts, in 1737. He was most probably taught the rudiments of his art by his step-father, Peter Pelham, a portrait painter and mezzotint engraver, whom Mrs. Copley had married after her first husband's death. In 1753, when he was only sixteen years of age, he painted and also engraved a portrait of the Rev. William Welsteed of Boston. His success soon became assured, and he received commissions to execute portraits of many distinguished persons of the day. About 1774 he painted the 'Boy with a Squirrel' (a portrait of his half-brother, Henry Pelham), which he sent to England, and which was exhibited anonymously at the Royal Academy. In consequence of the favour with which it was received Copley was advised to come to England, and he quitted America in the early part of 1774, never to return. From England he crossed to the continent and studied assiduously — particularly at Parma and at Rome — and soon after his return to London was elected an Associate of the Royal, Academy in 1776, and an Academician in 1779. Whilst still in Boston (in 1767) he had been elected a Fellow of the Society of Artists in Great Britain. He painted several very interesting pictures relating to events in English History, but those which he exhibited at the Royal Academy were chiefly por-