查尔斯·西应对Charles West Cope（1811年7月28日—1890年8月21日），英国画家。
出生在公园广场利兹的儿子查尔斯应付,水彩风景画家和美术老师。他的名字“西方”之后,一位著名的画家,本杰明西,他唯一的妹妹艾伦,考虑到几乎特纳,之后J M W特纳——画家都是他父亲的朋友。他的母亲是“一个有天赋的业余”在水彩画艺术家去世后不久查尔斯的诞生。
查尔斯作为一个孩子送到一所寄宿学校坎伯威尔伦敦,后来,“特里的学校”(原文如此)伟大的马洛他是欺负,他的手肘,这给他留下了终身弯曲的手臂。然后他去了利兹文法学校,在那里,他遭受了一个残酷的老师的关注。
1827年,应付的父亲死于一场阶段的教练事故。同年,他进入Sass的奥斯卡[1]在布卢姆斯伯里伦敦,1828年成为学生的皇家艺术学院。他赢得了一银牌从社会的艺术1829年,第二个奖牌在皇家艺术学院生活学校,因此生活资助。在Sass是他建立了终生的友谊弗朗西斯·卡里和查尔斯Stonhouse。1830年,他住在一个寄宿处大罗素街布卢姆斯伯里接近大英博物馆。
1832年应付去巴黎,他的艺术通过复制练习大师在罗浮宫如提香,伦布兰特和其他人。1833年,他首次在皇家美术学院展出,一幅画被称为黄金时代。同年9月,他前往意大利,在那里,他花了两年时间,谋生的一部分时间在画画佣金。他的画完成了长子弗洛伦斯和展出英国的机构.
奥赛罗有关他的冒险(蚀刻,1853),从莎士比亚的作品
回到英国后,解决了住宿在纽曼街,伦敦,然后搬到1罗素的地方,他的房东和家庭成为他艺术家的模型。这里他画保罗·弗朗西丝和客栈di平原,这是在皇家美术学院展出分别于1837年和1838年,此后不久的一大笔出售。在1839 - 40他画一个大altar-piece(16英尺10)圣乔治教堂,利兹,这是1840年在皇家美术学院展出。
应对成立了一个艺术家的社会称为“蚀刻俱乐部包括艺术家等威廉·霍尔曼狩猎,理查德·雷德格雷夫和塞缪尔·帕尔默。俱乐部出版了几本书的蚀刻画说明各种主题等知名作者戈德史密斯“s”荒芜的村庄”,十四行诗莎士比亚和弥尔顿“人》”和“Il ponseroso”。[2][3]
1840年9月1日,应对本宁夏洛特结婚,外科医生的女儿与一个大国的做法。他们住在租来的住宿Lisson格罗夫,伦敦,然后搬到一所房子肯辛顿1841年(应付自己委托)。在同年他的画贫困法律监护人:Board-day申请面包是在皇家美术学院展出。
奥利弗·克伦威尔和他的国务卿约翰•弥尔顿接受瑞士代表团寻求援助的新教徒(1872)
应对提交设计装修的内部竞争英国的国会大厦.[4]1843年,他的画第一个由陪审团审判为他赢得了300英镑的奖金。1844年,他提交了一份进一步设计称为“雅各布和瑞秋,会议”和六个画家之一委托当年7月准备初步图纸,彩色草图,标本的壁画绘画的装饰上议院。他还获得了400英镑的设计亨利王子承认法官的权威加斯科因。处理收到的一个委员会来执行这个在壁画设计,还有另一个黑太子爱德华接收嘉德勋位。这些佣金,和其他人,应对从事壁画画在上议院好几年了。他还当选为皇家艺术学院副教授(ARA)在1843年。
1848年,他成为了一个皇家院士(RA)后表现出一个大红衣主教沃尔西莱斯特修道院的招待会。在今年他的壁画女子名和劳拉上等待大厅的墙上上议院。1849年,他表现出一幅随后的雕刻的长子伦敦艺术联盟.[5]那一年他前往意大利和德国壁画的绘画来提高自己的知识和技术。他参观了彼得·冯·赫斯在慕尼黑,他是在教堂的壁画圣小旅店
刺(1866)
1850年,处理显示,李尔王和科迪莉亚RA,,1851年,“姐妹们,”和“劳伦斯·桑德斯的殉难”。1852年,他画的“婚姻的女子名”在1853年,他讲他的冒险经历Dessdemona”相关的“奥赛罗。同年,他和一个内部肿瘤病情加重。1854年,他表现出“朋友”,1855年“皇家囚犯”。1856年他画的新英格兰的清教徒家庭的登船同行的走廊在上议院,壁画的后来取代。主要的绘画被送到美国,应付了荣誉的费城人艺术的社会。
1857年应付展出冒犯和执行的壁画查理一世的葬礼同行的走廊(上议院)。1858年的,1858年一幅科迪莉亚接收的消息她父亲的虐待,离别的主的壁画和威廉·拉塞尔夫人同行的走廊。
在1861年的壁画提高了标准”放置在同行的走廊。在1862年他画(使用“水玻璃法”)的壁画“国防基础的房子”,在1863 - 64年的“人逐出牛津拒绝签署契约。1865年,他表现出研究福拉。安吉利柯在石油,后来在镶嵌在大范围内执行南肯辛顿博物馆。今年他死后的画像艾伯特王子是挂在社会的大房间的艺术。
在1865年和1866年应付完成他最好的壁画在上议院——‘会议培训乐队来缓解格洛斯特的围攻“和下议院议长Lenthall断言的特权。1867年,他被任命为皇家艺术学院绘画教授,并发表六个讲座直到1875年。在1867年他还画第三个场景(月光)从《奥赛罗》(1868)展出。应付的妻子,夏洛特,死于1868年。
Cope was born at Park Square in Leeds, the son of Charles Cope, a watercolour landscape painter and art teacher. He was given the name 'West' after that of a celebrated painter, Benjamin West, and his only sister Ellen, given the middle-name 'Turner', after J M W Turner – both painters being friends of his father. His mother was "a gifted amateur" artist in watercolours who died shortly after Charles' birth.
Charles was sent as a child to a boarding school in Camberwell, London, and afterwards to "Terry's school" (sic) at Great Marlow, where he was bullied and his elbow broken, which left him with a crooked arm for life. He then went to Leeds Grammar School, where he suffered from the attentions of a cruel teacher.
In 1827, Cope's father was killed in a stage coach accident. That same year he enteredSass's Academy[1] in Bloomsbury, London, and in 1828 became a student of the Royal Academy. He earned a silver medal from the Society of Arts in 1829, a second medal in the Royal Academy Life School, and therefore a life studentship. While at Sass's he established life-long friendship with Francis Cary and Charles Stonhouse. About 1830 he lived at lodgings in Great Russell Street, Bloomsbury close to the British Museum.
In 1832 Cope went to Paris and practiced his art by copying Old Masters at the Louvresuch as Titian, Rembrandt and others. In 1833 he exhibited at the Royal Academy for the first time – a picture called The Golden Age. In September of the same year he travelled to Italy, where he spent two years – earning a living for part of the time by painting pictures on commission. His painting The Firstborn was completed in Florence and exhibited at the British Institution.
After returning to England, Cope took lodgings in Newman Street, London, then moved to 1 Russell Place, where his landlord and family became his artist's models. Here he painted Paolo and Franceses and Osteria di Campagna, which were exhibited at the Royal Academy in 1837 and 1838 respectively, and sold shortly thereafter for a considerable sum. In 1839–40 he painted a large altar-piece (16 feet by 10) for St George's Church, Leeds, which was exhibited at the Royal Academy in 1840.
Cope founded an artists' society called 'The Etching Club' which included artists such as William Holman Hunt, Richard Redgrave and Samuel Palmer. The club published several books of etchings illustrating various themes by well-known authors such asGoldsmith's "The Deserted Village", Sonnets by Shakespeare and Milton's "L'Allegro" and "Il ponseroso".[2][3]
On 1 September 1840, Cope married Charlotte Benning, the daughter of a surgeon with a large country practice. They lived first in rented furnished lodgings in Lisson Grove, London, then moved to a house in Kensington (which Cope himself had commissioned) in 1841. In that same year his painting Poor Law Guardians: Board-day application for bread was exhibited at the Royal Academy.
Cope submitted designs for a competition to decorate the interior of the Houses of Parliament.[4] In 1843, his drawing 'The First Trial by Jury' earned him a prize of 300 pounds. In 1844 he submitted a further design called 'Meeting of Jacob and Rachel,' and was one of the six painters commissioned in July of that year to prepare preliminary drawings, coloured sketches, and specimens of fresco painting for the decoration of the House of Lords. He also received 400 pounds for his design of Prince Henry Acknowledging the Authority of Judge Gascoigne. Cope received a commission to execute this design in fresco, and also another of Edward the Black Prince receiving the Order of the Garter. These commissions, and others, engaged Cope in fresco painting in the House of Lords for several years. He was also elected an associate of the Royal Academy (ARA) in 1843.
In 1848 he became a Royal Academician (RA) after exhibiting a large work Cardinal Wolsey's Reception at Leicester Abbey. In this year he was engaged on the frescos of Griselda and Lara on the wall of the upper waiting hall of the House of Lords. In 1849 he exhibited a painting The First-born which was subsequently engraved for the Art Union of London.[5] In that year he travelled to Italy and Germany to improve his knowledge and technique of fresco painting. He visited Peter von Hess in Munich, who was working on a fresco in the Basilica of St. Boniface
In 1850, Cope showed 'King Lear and Cordelia' at the RA, and, in 1851, 'The Sisters,' and 'Laurence Saunders's Martyrdom'. In 1852, he painted the 'Marriage of Griselda' and in 1853, 'Othello relating his Adventures to Dessdemona'. In the same year he became seriously ill with an internal tumour. In 1854 he exhibited 'The Friends', and in 1855 'Royal Prisoners'. In 1856 he painted 'The Embarkation of a Puritan Family for New England' for the peers' corridor in the House of Lords, for which a fresco was afterwards substituted. The main painting was sent to America, and Cope was made an honorary member of the Philadelphian Society of Arts.
In 1857 Cope exhibited Affronted and executed a fresco of The Burial of Charles I in the peers' corridor (House of Lords). In 1858 came The Stepping Stones, and in 1859 a picture of Cordelia receiving the News of her father's Ill-treatment, and the fresco of The Parting of Lord and Lady William Russell in the peers' corridor.
In 1861 the fresco of 'Raising the Standard' was placed in the peers' corridor. In 1862 he painted (using the "water-glass method") the fresco of 'The Defence of Basing House,' and in 1863–64 that of the 'Expulsion of Fellows from Oxford for refusing to sign the Covenant.' In 1865 he exhibited a study of Fra Angelico in oil, afterwards executed in mosaic on a larger scale at the South Kensington Museum. In the year his large posthumous portrait of Prince Albert was hung in the large room of the Society of Arts.
In 1865 and 1866 Cope finished his best frescoes in the House of Lords – 'Meeting of Train Bands to relieve the Siege of Gloucester' and Speaker Lenthall asserting the Privileges of the Commons. In 1867 he was appointed professor of painting at the Royal Academy, and delivered six lectures a year till 1875. In 1867 also he painted a third scene (moonlight) fromOthello (exhibited 1868). Cope's wife, Charlotte, died in 1868.
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