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Student Artwork Guide

Martin Howard

Name Class Date

John Singleton Copley, Martin Howard (1767), Thyssen-Bornemisza Museum. Public domain.

The facts

Artist
John Singleton Copley artsdot.com/en/artists/john-singleton-copley/
Artist’s dates
1738 – 1815
Painted
1767
Medium
Oil On Canvas
Original size
100 x 102 cm
Movement
Neo-Classicism A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Period
Early Modern
Held at
Thyssen-Bornemisza Museum artsdot.com/en/museums/thyssen-bornemisza-museum-madrid/
Artistic style
Realism and Symbolism
Influences
Classical ideals
Notable elements or techniques
Realistic detail, symbolism
Subject or theme
Portrait of Martin Howard

In context

Martin Howard — John Singleton Copley

How big is it?

The original measures 100 × 102 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1730
  2. 1740
  3. 1750
  4. 1760
  5. 1770
  6. 1780
  7. 1790
  8. 1800
  9. 1810

Shaded: the lifetime of John Singleton Copley (1738–1815) ▲ this work, 1767

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/john-singleton-copley-martin-howard-8BWT8Z-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #262227

    Catalogued palette

    • #262227
    • #B9955C
    • #AC3727
    • #53352F
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Martin Howard — John Singleton Copley

    Martin Howard by John Singleton Copley: A Glimpse into Colonial Elegance

    The painting Martin Howard by John Singleton Copley, dated 1767, is a masterpiece that embodies the essence of Neo-Classicism. This captivating portrait, measuring 100 x 102 cm and executed in oil on canvas, is currently housed at the prestigious Thyssen-Bornemisza Museum in Madrid, Spain.

    The Subject: A Glimpse into the Past

    The subject of the painting, Martin Howard, is depicted wearing a striking red coat with a white collar and ruffled hair. He appears to be seated on a chair, exuding an air of sophistication and elegance. The attire suggests that he was a prominent figure during his time, likely holding a position of importance. Howard (1725–1781) was a politician in colonial Rhode Island, known for his controversial support of the Stamp Act of 1765. Later appointed Chief Justice of North Carolina, his life and career were marked by both legal distinction and political upheaval.

    Artistic Elements: A Blend of Realism and Symbolism

    The background features a serene blue sky with clouds, adding depth and visual interest to the scene. Notably, there is a book visible in the image, which may indicate that Martin Howard was engaged in reading or studying at the time the portrait was painted. This element adds a layer of symbolism, highlighting his intellectual pursuits. The lighting is dramatic, originating from the left side, casting strong shadows that define the folds of his clothing and create a sense of depth.

    Artistic Style: Neo-Classicism & Copley's Technique

    John Singleton Copley’s work is characterized by its adherence to the principles of Neo-Classicism. This style emphasizes realism, simplicity, and a return to classical ideals. In Martin Howard, Copley masterfully captures the essence of his subject with precise attention to detail, creating a sense of authenticity. The technique employed is traditional oil painting, utilizing layering and glazing to build up color and form. Copley was known for his ability to depict textures realistically – the sheen of the fabric, the wrinkles on the man’s face - all contributing to the portrait's lifelike quality.

    Historical Context & Emotional Impact

    Painted in 1767, this portrait reflects a pivotal moment in American history—the growing tensions between Britain and its colonies. Howard’s support of the Stamp Act made him a controversial figure, and the painting can be seen as both a record of his status and a subtle commentary on the political climate of the time. The overall impression is one of dignified authority tempered by an underlying sense of complexity. The portrait invites viewers to contemplate not only the individual depicted but also the broader historical forces shaping colonial America.

    Artist and museum

    Artist

    John Singleton Copley

    Born in Boston, United Kingdom

    A Pioneer Bridging Worlds: The Life and Art of John Singleton Copley

    John Singleton Copley, born in Boston in 1738, occupies a unique and pivotal position in the history of American art. He wasn’t merely a painter; he was a cultural bridge, forging a distinctly Anglo-American aesthetic during a period of immense political and social upheaval. His story is one of self-taught brilliance, relentless ambition, and an uncanny ability to capture not just likenesses, but the very essence of his subjects within the context of their time. Copley’s early life was steeped in the bustling maritime world of colonial Boston, a city brimming with merchants, shipbuilders, and burgeoning wealth. His father, Richard Copley, though absent shortly after John's birth, was a tobacco merchant, while his mother, Mary Singleton Copley, ran a shop on Long Wharf. This environment instilled in young John an acute awareness of the material world – the textures of fabrics, the gleam of silver, the subtle nuances of social standing – all elements that would later define his artistic style. His stepfather, Peter Pelham, an engraver and limner (an artist who created portraits on vellum or parchment), provided some initial guidance, but Copley’s talent was largely self-cultivated through diligent study and practice. He devoured any available engravings, meticulously copying them to master technique, and quickly surpassed his stepfather's abilities.

    The Rise of a Colonial Portraitist

    By the 1760s, Copley had established himself as Boston’s premier portraitist, catering to the city’s elite. His success wasn’t simply due to technical skill; it was his ability to imbue his portraits with a psychological depth rarely seen in colonial American art. He moved beyond mere representation, striving to capture the character and social standing of his sitters. This involved meticulous attention to detail – the precise rendering of fabrics, jewelry, and furnishings – but also a keen understanding of posture, expression, and gesture. Copley’s portraits weren't just images; they were statements about wealth, power, and social aspiration. He skillfully incorporated symbolic objects into his compositions, subtly hinting at his subjects’ professions or interests. A merchant might be depicted with imported goods in the background, a lawyer with legal texts, or a naval officer with nautical instruments. This attention to detail and symbolism elevated his work beyond simple portraiture, transforming it into a form of social commentary. His portraits of prominent figures like Mrs. Ezekiel Gondthwait (Elizabeth Lewis) exemplify this approach – the elegant pose, luxurious fabrics, and subtle details all convey a sense of refinement and status.

    Ambition and the Call of Europe

    Despite his success in Boston, Copley harbored ambitions that extended beyond the colonial art world. He yearned for recognition from the established artistic circles of London and Rome, and sought to test his skills against the masters of European painting. In 1766, he sent his Boy with a Flying Squirrel to the Society of Artists in London, where it received considerable praise from Joshua Reynolds and Benjamin West – two leading figures in the British art scene. This encouragement fueled Copley’s desire for further training and exposure. However, family obligations and a thriving practice kept him rooted in Boston for another decade. Finally, in 1774, with his wife Susanna Farnsworth Clarke and their children, he embarked on a journey to Europe, intending to study the Old Masters and establish himself as a historical painter. The outbreak of the American Revolution shortly after his arrival complicated matters, forcing Copley to navigate a politically charged environment while pursuing his artistic goals.

    Historical Narratives and Lasting Legacy

    In London, Copley found both opportunities and challenges. He continued to paint portraits, securing commissions from prominent British figures, but he also turned his attention to historical painting – a genre considered more prestigious than portraiture at the time. His most ambitious work in this vein was The Death of Major Peirson, depicting a scene from the Battle of Jersey during the American Revolutionary War. While technically impressive, it received mixed reviews, with some critics questioning its composition and dramatic impact. Copley’s later historical paintings, such as *The Colapse of the Earl of Chatham in the House of Lords*, were more successful, demonstrating his ability to capture complex emotions and dramatic moments. Though he never fully achieved the level of acclaim he sought in Europe, John Singleton Copley left an indelible mark on both American and British art history. He pioneered a uniquely Anglo-American style, blending European techniques with a distinctly colonial sensibility. His portraits remain invaluable historical documents, offering glimpses into the lives and values of a bygone era. He is remembered not only for his artistic skill but also for his role in shaping a national identity through his art. He died in London in 1815, leaving behind a legacy that continues to inspire artists and captivate audiences today.

    Influences and Artistic Development

    Early Influences: Copley’s early artistic development was heavily influenced by the engravings he meticulously copied, particularly those of European masters like Rembrandt van Rijn and Antoine Watteau.

    Peter Pelham's Guidance: His stepfather, Peter Pelham, provided initial training in portraiture and engraving techniques, laying the foundation for his future success.

    Joshua Reynolds & Benjamin West: The encouragement and feedback from these prominent British artists during Copley’s early submissions to London exhibitions were crucial in shaping his ambitions and artistic direction.

    Rococo Style: Copley initially embraced the Rococo style, evident in his use of delicate colors, graceful poses, and ornate details. However, he gradually moved towards a more realistic and restrained approach.

    Historical Painting Inspiration: His exposure to historical paintings by artists like Benjamin West inspired him to explore this genre, though he often struggled to fully reconcile it with his natural talent for portraiture.

    Museum

    Thyssen-Bornemisza Museum

    On show in Madrid, Spain

    A Legacy of Passion: Unveiling the Thyssen-Bornemisza Museum

    Nestled within the heart of Madrid’s vibrant cultural landscape, alongside the grandeur of the Prado and the revolutionary spirit of the Reina Sofía, lies the Thyssen-Bornemisza National Museum – a truly exceptional institution born from a singular vision. More than simply a collection of masterpieces, it represents a deliberate act of preservation, a passionate defense of European artistic heritage against the tides of exile following World War I, and a testament to the discerning eye of Heinrich Baron Thyssen-Bornemisza. The museum’s story begins not in Spain, but in Lugano, Switzerland, where the Baron embarked on his ambitious quest to assemble a collection that would encompass the entirety of European artistic achievement – a conscious decision to safeguard its legacy within Europe's borders.

    Heinrich Thyssen-Bornemisza, driven by an almost obsessive desire for completeness, tirelessly pursued works spanning centuries and styles. From the Byzantine icons shimmering with otherworldly light, hinting at ancient mysteries, to the bold Surrealist sculptures challenging conventional forms, and crucially, the groundbreaking canvases of Pablo Picasso – his collection became a breathtaking tapestry of artistic expression. The relocation to Madrid in 1943 wasn’t merely a logistical shift; it was a profound statement of commitment, a desire to share this extraordinary inheritance with Spain and foster a deeper appreciation for art on a global scale. This move solidified the museum's place within the “Golden Triangle of Art,” creating a synergistic experience for visitors exploring these three iconic institutions.

    Architectural Harmony: A Palace of Reflection

    The Thyssen-Bornemisza resides within a beautifully restored neoclassical palace, originally designed as a royal residence for Alfonso XIII and his family – a space intended to embody grandeur and inspire artistic contemplation. This building, conceived by Narciso III Ortiz y Montenegro, stands as a harmonious counterpoint to the more modern structures of its neighbors, offering visitors an immediate sense of serenity and beauty. The soaring ceilings, adorned with intricate stucco decorations, and the expansive windows flooding the galleries with natural light create an environment perfectly suited for showcasing the museum’s treasures. The proportions are meticulously considered, reflecting a deep understanding of classical aesthetics – a subtle yet powerful reminder of the enduring influence of artistic tradition. The integration with Parque del Buen Retiro further enhances the experience, providing a tranquil backdrop and panoramic views that complement the art within.

    A Chronological Journey Through European Art

    Visitors embark on a chronological journey through European painting, beginning with early Renaissance works by Duccio and Luca di Tommè – delicate beauty and spiritual depth. The collection then progresses through the vibrant hues of the Italian Primitives: Giotto, Masaccio, Botticelli, and Bellini, offering a profound insight into the foundations of Western art. A significant section is dedicated to Dutch Masters – Rembrandt’s dramatic portraits and self-portraits alongside Vermeer, Hals, and Frans Hals, revealing the nuances of light and color. The Spanish Masters showcase Goya's later works, including his iconic “Saturn” series, providing a glimpse into the artist’s turbulent life and artistic vision. The museum culminates in its impressive holdings of Impressionist and Post-Impressionist art – featuring Monet’s luminous landscapes, Renoir’s intimate portraits, Degas’ captivating dancers, and Van Gogh’s emotionally charged brushstrokes.

    Beyond the Permanent Collection: A Dynamic Experience

    What truly distinguishes the Thyssen-Bornemisza is its remarkable ability to complement and enrich the collections of the Prado and Reina Sofía. While the Prado champions Spanish artistic tradition – showcasing the mastery of Velázquez, Goya, and El Greco – and the Reina Sofía celebrates modern innovation with Picasso’s “Guernica” and Warhol’s vibrant prints, the Thyssen fills historical gaps with an astonishing breadth of European painting. The museum is renowned for its dynamic programming of exhibitions that delve into specific themes and artists, fostering intellectual engagement and broadening perspectives on art history. These temporary exhibits often draw upon international collaborations, ensuring that visitors encounter cutting-edge scholarship and innovative interpretations – a testament to the museum’s commitment to remaining relevant in an ever-evolving cultural landscape. Notably, the ongoing loan of Carmen Cervera’s personal collection further expands the museum's offerings, guaranteeing its continued appeal for generations to come.

    Highlights & Artistic Treasures

    Early Renaissance:

    A stunning array of works by Duccio, Fra Angelico, and Piero della Francesca, showcasing the delicate beauty and spiritual depth of this era.

    Italian Primitives:

    Masterpieces by Giotto, Masaccio, Botticelli, and Bellini, offering a profound insight into the foundations of Western art.

    Dutch Masters:

    Rembrandt’s dramatic portraits and self-portraits, alongside works by Vermeer, Hals, and Frans Hals, revealing the nuances of light and color.

    Spanish Masters:

    A significant collection of Goya's later works, including his iconic “Saturn” series, providing a glimpse into the artist’s turbulent life and artistic vision.

    Impressionist & Post-Impressionist:

    Featuring Monet’s luminous landscapes, Renoir’s intimate portraits, Degas’ captivating dancers, and Van Gogh’s emotionally charged brushstrokes – showcasing the revolutionary techniques and emotional intensity of these movements.

    The Thyssen-Bornemisza Museum stands as a vibrant testament to the power of art and the enduring legacy of one man's passionate pursuit of beauty.

    Where to read more

    Find this online

    QR code linking to the download page for Martin Howard

    artsdot.com/en/art/download/john-singleton-copley-martin-howard-8BWT8Z-en/

    Cite this artwork

    MLA
    Copley, John Singleton. Martin Howard. 1767, Thyssen-Bornemisza Museum. https://artsdot.com/en/art/john-singleton-copley-martin-howard-8BWT8Z-en/
    APA
    Copley, John Singleton (1767). Martin Howard [Painting]. Thyssen-Bornemisza Museum. https://artsdot.com/en/art/john-singleton-copley-martin-howard-8BWT8Z-en/
    Chicago
    John Singleton Copley. Martin Howard. 1767. Thyssen-Bornemisza Museum. https://artsdot.com/en/art/john-singleton-copley-martin-howard-8BWT8Z-en/
    Harvard
    Copley, John Singleton (1767) Martin Howard. Thyssen-Bornemisza Museum. Available at: https://artsdot.com/en/art/john-singleton-copley-martin-howard-8BWT8Z-en/

    Look closely

    Martin Howard — John Singleton Copley

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: portrait, judge, colonial. Do you agree? What would you add, or take away?
    5. Look back at Watson and the Shark (1778), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Martin Howard — John Singleton Copley

    How well do you know this artwork?

    Tick one answer for each of the 4 questions below. Each has exactly one correct answer.

    1. 1. What year was the painting "Martin Howard" created by John Singleton Copley?

      • A 1757
      • B 1767
      • C 1777
    2. 2. In which museum is the painting "Martin Howard" currently housed?

      • A The Louvre, Paris
      • B Thyssen-Bornemisza Museum, Madrid
      • C Museum of Fine Arts, Boston
    3. 3. What artistic style is prominently displayed in "Martin Howard"?

      • A Impressionism
      • B Neo-Classicism
      • C Baroque
    4. 4. According to the description, what does the presence of a book in the painting symbolize about Martin Howard?

      • A His wealth and status
      • B His intellectual pursuits
      • C His military background

    My score: ____ out of 4

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B