Watson and the Shark is an oil painting by the Anglo-American painter John Singleton Copley, depicting the rescue of the English boy Brook Watson from a shark attack in Havana, Cuba.
Copley, then living in London, painted three versions, which are all now in the United States. The 1778 version is in the National Gallery of Art, Washington, D.C. A second, full-size 1778 replica is now in the Museum of Fine Arts, Boston, and a third, smaller, 1782 version with a more vertical composition is in the Detroit Institute of Arts.
The paintings are based on an attack that took place in Havana harbour in 1749. Brook Watson, then a 14-year-old cabin boy on the Royal Consort, [1] lost his right leg below the knee in the attack, and was not rescued until the third attempt, which is the subject of the painting. [2] Watson, having had a military career and become a successful merchant, commissioned the painting from Copley a quarter of century after the event. Watson went on to be chairman of Lloyd's of London, a Member of Parliament, and Lord Mayor of London.
Copley and Brook Watson became friends after the American artist arrived in London in 1774. Watson commissioned him to create a painting of the 1749 event, and Copley produced three versions. It was the first of a series of large-scale historical paintings that Copley concentrated on after settling in London. The painting is romanticized: the gory detail of the injury is hidden beneath the waves, though there is a hint of blood in the water. The rescue attempt is led by a young man standing on the prow of the boat, poising to spear the animal through with a pike pole.
The figure of Watson is based on the statue of the "Borghese Gladiator", by Agasias of Ephesus, in the Louvre. Other apparent influences are Renaissance art, and the ancient statue of Laocoön and his Sons , which Copley may have seen in Rome. Copley was probably also influenced by Benjamin West's The Death of General Wolfe , and the growing popularity of romantic painting.[ citation needed ]
The composition of the rescuers in the boat shows hints of Peter Paul Rubens's Jonah Thrown into the Sea, and both Rubens's Miraculous Draught of Fishes and Raphael's painting of the same name. The facial expressions show a marked resemblance to those in Charles Le Brun's Conférence de M. Le Brun sur l'expression générale et particulière, an influential work published in 1698; they portray a range of emotions, from fear to courage. Various elements of composition were changed as the painting progressed. Infrared analysis shows that the old boatswain was originally a young man, and preliminary sketches reveal that the black sailor at the rear of the boat, who also appears as the subject of Copley's Head of a Negro painted around the same time, was originally envisioned as a white man with long, flowing hair. [3]
Copley had never visited Havana, and it is likely that he had never seen a shark, much less one attacking a person. He may have gleaned details of Havana harbor from prints and book illustrations: he includes the real landmark of Morro Castle in the background on the right. The shark is less convincing and includes anatomical features not found in sharks, such as lips, forward-facing eyes that resemble a tiger's more than a shark's and air blowing out from the animal's "nostrils".
The painting was exhibited at the Royal Academy in 1778. At his death in 1807, Watson bequeathed the painting to Christ's Hospital, with the hope that it would prove "a most usefull Lesson to Youth". In September 1819 the school's committee of almoners voted to accept the painting and place it in the great hall. The school later moved to Horsham, Sussex, where it was hung in the Dining Hall. In 1963, it sold the painting to the National Gallery of Art, Washington, D.C. [4] though the college retains a copy. [5]
The version in the National Gallery of Art features a panel beneath the painting which reads:
This picture representing a remarkable occurrence in the life of Brook Watson was bequeathed to the Royal Hospital of Christ in London by his will. He was of a very good family in the North of England but having lost both his parents early in life was brought up by an aunt, and before the age of fourteen years manifested a strong predilection for the sea, which led to the misfortune represented in the picture.
He served in the Commissariat Department of the Army under the immortal Wolfe at Louisberg in 1758. In 1759 he was established as a merchant in London and was subsequently called upon to act as Commissary General to the Army in America commanded by Sir Guy Carleton, late Lord Dorchester.
On his return from that service he was elected an Alderman of the City of London and one of its representatives in parliament, and continued Member of the House of Commons till he was appointed to the situation of Commissary General to the Army under His Royal Highness the Duke of York, acting on the continent of Europe.
In 1796 he was chosen Lord Mayor and in 1803 created a baronet of the United Kingdom.
He died in 1807, an Alderman of the City of London, Deputy Governor of the Bank of England, &c, &c thus shewing that a high sense of integrity and rectitude with a firm reliance on an overruling providence united to activity and exertion are the sources of public and private virtue and the road to honours and respect. The picture was painted by John Singleton Copley Esq. Royal Academician in the year 1778.
Copley produced a second, full-size replica of the painting for himself in 1788. It was inherited by his son, and then passed through several English and American collections until it was donated in 1889 to the Museum of Fine Arts, Boston. [6]
In 1782 Copley painted a third and smaller version of the painting, with a vertical format produced by extending the view of the sky above. [7] It was owned first by Noël Desenfans. [7] In 1946 it was purchased by the Detroit Institute of Arts. [7]
The Metropolitan Museum of Art holds a study of the work by Copley.
The Beaverbrook Art Gallery (Fredericton, Canada) has a miniature version of this piece, attributed to Copley.
Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.
John Singleton Copley was an Anglo-American painter, active in both colonial America and England. He was believed to be born in Boston, Province of Massachusetts Bay, to Richard and Mary Singleton Copley, both Anglo-Irish. After becoming well-established as a portrait painter of the wealthy in colonial New England, 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. He was father of John Copley, 1st Baron Lyndhurst and half-brother of Henry Pelham, the American painter, engraver, and cartographer.
Gilbert Stuart was an American painter born in the Rhode Island Colony who is widely considered one of America's foremost portraitists. His best-known work is an unfinished portrait of George Washington, begun in 1796, which is usually referred to as the Athenaeum Portrait. Stuart retained the original and used it to paint scores of copies that were commissioned by patrons in America and abroad. The image of George Washington featured in the painting has appeared on the United States one-dollar bill for more than a century and on various postage stamps of the 19th century and early 20th century.
John Trumbull was an American painter and military officer best known for his historical paintings of the American Revolutionary War, of which he was a veteran. He has been called the "Painter of the Revolution". Trumbull's Declaration of Independence (1817), one of his four paintings that hang in the United States Capitol rotunda, is used on the reverse of the current United States two-dollar bill.
The National Gallery of Art is an art museum in Washington, D.C., United States, located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was privately established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated a substantial art collection and funds for construction. The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
George Romney was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson.
Willard Leroy Metcalf was an American painter born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, and later attended Académie Julian, Paris. After early figure-painting and illustration, he became prominent as a landscape painter. He was one of the Ten American Painters who in 1897 seceded from the Society of American Artists. For some years he was an instructor in the Women's Art School, Cooper Union, New York, and in the Art Students League, New York. In 1893 he became a member of the American Watercolor Society, New York. Generally associated with American Impressionism, he is also remembered for his New England landscapes and involvement with the Old Lyme Art Colony at Old Lyme, Connecticut and his influential years at the Cornish Art Colony.
General George Augustus Eliott, 1st Baron Heathfield, was a Scottish officer of the British Army, who served in three major wars during the 18th century. He rose to distinction during the Seven Years' War when he fought in Germany and participated in the British attacks on Belle Île (France) and Cuba. Eliott is most notable for his command of the Gibraltar garrison during the Great Siege of Gibraltar, which lasted from 1779 to 1783, during the American War of Independence. He was celebrated for his successful defence of the fortress and decisive defeat of Spanish and French attackers.
Mather Brown was an American painter who was born in Boston, Massachusetts and was active in England.
Robert Feke was an American portrait painter born in Oyster Bay, New York. According to art historian Richard Saunders, "Feke’s impact on the development of Colonial painting was substantial, and his pictures set a new standard by which the work of the next generation of aspiring Colonial artists was judged." In total, about 60 paintings by Feke survive, twelve of which are signed and dated.
The Gulf Stream is an 1899 oil painting by the American artist Winslow Homer. It shows a man in a small dismasted rudderless fishing boat struggling against the storm-tossed waves and perils of the sea, presumably near the Gulf Stream, and was the artist's statement on a theme that had interested him for more than a decade. During the time he explored this theme, Homer, a New Englander, boated often near Florida, Cuba, and the Caribbean.
Sir Brook Watson, 1st Baronet was an English merchant and politician who served as the Lord Mayor of London from 1796 to 1797. He is best known as the subject of John Singleton Copley's painting Watson and the Shark, which depicts a shark attack on Watson as a young man in Havana that resulted in the loss of his right leg below the knee.
The Defeat of the Floating Batteries at Gibraltar is the title of a 1791 oil-on-canvas painting by Boston-born American artist John Singleton Copley. 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.
Peter Pelham was an American portrait painter and engraver, born in England.
The Death of Major Peirson, 6 January 1781 is a large oil painting executed in 1783 by the Anglo-American artist John Singleton Copley. It depicts the death of Major Francis Peirson at the Battle of Jersey on 6 January 1781, part of the Anglo-French War (1778–1783).
The Fossil Hunters is a painting by the American artist Edwin Dickinson (1891–1978). Painted in 1926–28, it was the largest painting he had done at the time, and required 192 sittings to complete. The painting, which is in the collection of the Whitney Museum of American Art, contains the most explicit references to Dickinson's roots and loved ones.
Joseph Wright was an American portrait painter and sculptor. He painted life portraits of George Washington and Benjamin Franklin, and was a designer of early U.S. coinage. Wright was President Washington's original choice for Chief Engraver of the U.S. Mint, but died at age 37, before being confirmed to that position.
The Death of General Montgomery in the Attack on Quebec, December 31, 1775 is an oil painting completed in 1786 by the American artist John Trumbull. It depicts American general Richard Montgomery at the Battle of Quebec during the invasion of Quebec. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut. It is the second in Trumbull's series of national historical paintings on the American Revolutionary War, the first being The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775.
A Boy with a Flying Squirrel (Henry Pelham), or Henry Pelham (Boy with a Squirrel), is a 1765 painting by the American-born painter John Singleton Copley. It depicts Copley's teenaged half-brother Henry Pelham with a pet flying squirrel, a creature commonly found in colonial American portraits as a symbol of the sitter's refinement. Painted while Copley was a Boston-based portraitist aspiring to be recognized by his European contemporaries, the work was brought to London for a 1766 exhibition. There, it was met with overall praise from artists like Joshua Reynolds, who nonetheless criticized Copley's minuteness. Later historians and critics assessed the painting as a pivotal work in both Copley's career and the history of American art. The work was featured in exhibitions at the Museum of Fine Arts, Boston, and the National Gallery of Art. As of 2023, it is held by the former.
The Battle of Camperdown is a 1799 history painting by the American-born painter John Singleton Copley. It depicts the conclusion to the Battle of Camperdown on 11 October 1797, which was fought in the North Sea between fleets of the Royal Navy and the Batavian Navy during the War of the First Coalition. A decisive British victory, Copley's painting shows British Admiral Adam Duncan accepting the surrender of the Batavian Admiral Jan Willem de Winter. Its full title is The Surrender of the Dutch Admiral de Winter to Admiral Duncan at the Battle of Camperdown.
While lying in the harbor at Havana, it was very hot on board the Royal Consort, about four o'clock in the afternoon of the 14th July.