A Revolution in Color: The World of John Singleton Copley
, by Jane Kamensky.
This volume traces the life of painter John Singleton Copley
(1738-1815), who painted portraits of many figures of the American Revolution in the 1760s and 1770s, within the context of that period.
While John Singleton Copley
's 1768 portrait of Revere depicts him as a down-to-earth artisan in his shirtsleeves, Greenburg informs readers he charged his mother rent to stay in his house and ''misappropriated'' -- perhaps stole -- Boston engraver Henry Pelham's image of the Boston Massacre which he used without credit for his most famous engraving, ''Bloody Massacre.''
The Romantic Watson and the Shark (1778), by John Singleton Copley
, displays the emotional terror of an imminent shark attack 200 years before Steven Spielberg's Jaws.
(To experience this yourself, find a copy of John Singleton Copley
's A Boy with a Flying Squirrel  on Google Images or see page 33.
Iconic portraits of patriots by Boston-born John Singleton Copley
, carved furniture by Samuel Prince of Philadelphia, and silver by Daniel Christian Fueter of New York and Paul Revere of Boston, including his Sons of Liberty Bowl (1768), present a picture of prosperous colonies.
Among these, there is a space which Rogers calls 'a destination gallery' hung with works by John Singer Sargent (1856-1925), another for John Singleton Copley
(1738-1815), a salon-style gallery dedicated to Americans and the 'Grand Tour', nine period rooms, a room full of abstract Expressionist works and another filled with 20th-century figurative art.
Lord Lyndhurst, John Singleton Copley
(1772-1863), son of the famous painter of the same name, was linked to the Bruce family and his papers will also be available to view.
in an early portrait by John Singleton Copley
to the jaunty brio of Norman Rockwell's Rosie the Riveter."
It attempts to ease the soul of this difficult time with classics like John Singleton Copley
's depiction of Paul Revere, silversmith and Revolutionary War hero, holding his chin in his right hand and a silver teapot in his left; the teapot refers to the British tax on tea that helped set off the Revolution.
In Paul Revere's Ride (1994), it was John Singleton Copley
's famous portrait that opened the discussion, and, in Washington's Crossing (2004) it was Emmanuel Leutze's even more famous painting that served as a beginning set-piece.
Painters George Carter (1737-94) and John Singleton Copley
(1738-1815) got on so badly during their journey to Rome together that Copley later described Carter as 'a sort of snail which crawled over a man in his sleep, and left its slime and no more'.