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727:, the ancient Assyrian city of Upper Mesopotamia. Layard had first seen the mounds of Nineveh when he and his travelling companion Edward Mitford passed through Mosul in early 1840. He explored the ruins in 1847 however two years later, on the eastern shores of the river Tigris opposite Mosul, the lost palace of
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In 1852, after he returned to London, he exhibited at the Royal
Academy a painting entitled Scene from the excavations of Nineveh, taken from a sketch made on the spot. In 1860 he exhibited at the Royal Academy a work "The plains of Nineveh from the Tanner’s Ferry near Mosul", also from the sketches
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Sources claim an uneasy relationship between Cooper and Layard, and personal dislike that Layard had for Cooper: "From the start, it was clear that Layard was fairly contemptuous of Cooper and had little time for him. Cooper was very homesick, missed his wife, and even painted a portrait of her from
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was discovered. Cooper produced important watercolour works and drawings of the excavation and local topography in
Northern Iraq and north-east Syria. Many of the original drawings are in the collection of the British Museum, including a work depicting two lions at the entrance to the shrine of
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Cooper was born in
Nottingham however he relocated to London where he hoped to establish himself as an artist. In 1844 he was living at 37 Dorset Square in London when his work titled "Ophelia: therewith fantastic garlands did she make" was first exhibited at the
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712:‘the assistance of a competent artist was most desirable, to portray with fidelity those monuments which injury and decay had rendered unfit for removal. Mr. F. Cooper was selected by the Trustees of the
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From a bound set of original drawings made at the time of the nineteenth-century discoveries in
Assyria. Many of these drawings were used by Layard in his publications of the 1840s and 1850s. British
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four years later. In 1851, Cooper compiled a group of thirty seven paintings from the expedition which were exhibited as a diorama of
Nineveh at the Gothic Hall, Lower Grosvenor Street in London.
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tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the
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689:(q.v.) on his expedition to Assyria in 1849-1850, and from which trip he executed a number of watercolour drawings of the excavations and local topography in northern Iraq and north-east Syria.
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He became recognized after he joined Austen Henry Layard (archeologist, politician and diplomat) on a significant expedition in 1849 as the official artist. Layard writes in his 1853 text
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The art historian H.L. Mallalieu has written in his
Dictionary of British Watercolour Artists up to 1920: «Cooper’s landscapes are effective, but his figures can be rather shaky»
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Excavation of the City of
Nineveh (c. 1852). Oil on canvas. Unframed: 91.5 by 71.5cm,. 36 by 28in. Framed: 125 by 106cm., 49¼ by 41¾in. Private collection.
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in 1849. The book was a best-seller in
Victorian England, aided by the close links Layard made between Nineveh and the Bible. He then published
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memory which he took out from to time to gaze at. He didn’t like the food, and suffered from the climate as it started to get hotter".
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taken by the artist on the spot. In 1868, he exhibited for the last time at the Royal
Academy, with a work entitled The Souvenir.
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Austen Henry Layard published detailed reports of the excavations and in depth recollections from his travels in his book
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685:(1817 - 1883), or (1810 - 1880), or (1821 - about 1880), was a British artist, traveller and diplomat who accompanied
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The Royal
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Possibly notable but needs sources to prove it. Where did you get the info in the Biography section? ~
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A woman lounging with a hookah (c. 1860s). Oil on canvas 16 1/4 in x 20 1/4 in. Private collection
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He was also Consul to Queen Victoria in Mesopotamia and Kurdistan (1850-1855).
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1018:(1st ed.). London: London (published 1905). p. 146.
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967:"Frederick Charles Cooper, KURDISH TENTS OF SHINGAL (Sinjar)"
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Istituto Veneto di Scienze, Lettere ed Arti (VENICE 2020).
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Discoveries among the ruins of Nineveh and Babylon
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The maiden and the alchemist (c.1860). Oil on canvas
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