← John Singleton Copley

Study for "The Siege of Gibraltar": Three Officers, Two Standing and One Kneeling

Original title: Study for "The Siege of Gibraltar": Three Officers, Two Standing and One Kneeling

Artist

John Singleton Copley

Date

1785–86

Medium

Black chalk and white-chalk heightening on blue laid paper

Dimensions

14 5/16 x 22 5/8 in. (36.4 x 57.5 cm)

Credit line

Harris Brisbane Dick Fund, 1960

kurzbeschreibung

Three officers, two standing and one kneeling, form the subject of this drawing by John Singleton Copley from 1785–86. Executed in black chalk with white heightening on blue laid paper, the sheet was made as a preparatory study for the large history painting 'The Siege of Gibraltar'.

Description

Two standing officers are positioned on the left, while a figure kneels on the right. The standing men face the kneeling one, suggesting an interaction. Black chalk precisely contours the bodies, and white accents emphasize faces and uniform details. The layout is asymmetrical and entirely focused on the figures; background elements are absent. Anatomical details and fabric folds are carefully worked out.

Context

Copley used this study as preparation for his painting 'The Siege of Gibraltar' (1783–1791), which depicts the defense of the British fortress against Spanish and French troops in 1782. Copley had lived in London since 1774, where the work was created. The sheet belongs to a series of preparatory drawings he made for the figure groups in the painting. The siege was considered a significant event in the American War of Independence and was celebrated in Britain as a triumph.

Impact

Lively and clear in its capture of body postures, this drawing makes an immediate impression. Through the interplay of black chalk and white heightening on blue paper, the figures gain a sculptural presence. The interaction of the officers creates narrative tension and draws the viewer into the scene.

Technique

Copley worked with black chalk and white chalk heightening on blue laid paper. This technique allowed him both fine lines and strong shading. The blue paper acts as a middle tone, on which the dark chalks and light accents produce a subtle gradation of tonal values.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)